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The Union
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The Union (Deluxe Version)
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MP3 Music, October 19, 2010
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Vinyl, October 19, 2010
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From the brand
Track Listings
1 | If It Wasn't For Bad |
2 | Eight Hundred Dollar Shoes |
3 | Hey Ahab |
4 | Gone To Shiloh |
5 | Jimmie Rodgers' Dream |
6 | There's No Tomorrow |
7 | Monkey Suit |
8 | The Best Part Of The Day |
9 | A Dream Come True |
10 | When Love Is Dying |
11 | I Should Have Sent Roses |
12 | Hearts Have Turned To Stone |
13 | Never Too Old (To Hold Somebody) |
14 | The Hands Of Angels |
Editorial Reviews
Product Description
2010 collaboration between Rock legends Elton John and Leon Russell. Produced by Oscar and multiple-Grammy award winning producer T-Bone Burnett, the Union was recorded live in the studio with Elton and Leon on dueling pianos. The album features a variety of musical genres from R & B, Soul, Gospel, Country, Pop and Rock. The album includes selections written by Elton and his lifelong lyricist Bernie Taupin, as well as the combined incomparable songwriting team encompassing Leon, Elton, Bernie and T Bone.
About the Artist
(NEW YORK, NY) July 6, 2010 - Decca Records is pleased to announce the release of the highly anticipated collaboration between two musical legends, Elton John and Leon Russell with The Union available October 19 in the U.S. (To be released October 25 in the U.K. on Mercury Records.) This album marks the first time these iconic artists have worked together since 1970.
Produced by Oscar and multiple-Grammy winning producer T Bone Burnett, who took home numerous awards in 2009 for his production work on Raising Sand with Robert Plant and Alison Krause, The Union features songs written by John and his lifelong lyricist Bernie Taupin, as well as in combination with the extraordinary talents of Russell and Burnett.
Recorded live in the studio with John and Russell on dueling pianos, the album features a variety of musical genres from R&B, soul, gospel, country, pop and rock. Icons Neil Young and Brian Wilson provide guest vocals on the 16-track record along with legendary R&B organist Booker T. Jones, steel guitarist Robert Randolph and a 10-piece gospel choir.
Russell first met John in 1970 when he attended John's first ever U.S. show at the famous Troubadour in Los Angeles. The meeting heralded the beginning of a long friendship and a mutual appreciation between the two artists. "In the late '60s and early `70s, the one piano player and vocalist who influenced me more than anybody else was Leon Russell," John said. "He was my idol." The pair went on to tour together shortly thereafter at New York's Fillmore East and to this day have held such high admiration for each other's work.
After years of being out of touch, John listened to Russell's music while on safari in Africa last summer and was inspired to reconnect with his idol. "Elton called to ask if I would do a duet album with him,'" Russell said. "I'm very happy that he chose me to do this."
The monumental career of international singer/songwriter and performer Elton John has spanned more than three decades. He is the one of the top-selling solo artists of all time with 35 gold and 25 platinum albums and more than 250 million records sold worldwide. The National Academy of Recording Arts and Sciences has awarded John multiple Grammys, including the Grammy Legend Award.
Russell has performed his gospel-infused southern boogie piano rock, blues and country music for over 50 years. This legendary and Grammy award winning musician and songwriter has topped music charts, led the famous Joe Cocker's `Mad Dogs & Englishmen' tour, performed with George Harrison and Friends at the Concert for Bangladesh and in 2006 was awarded a lifetime achievement award by the Bare Bones International Film Festival.
The Union is a unique collaboration of two of the most talented artists in the music business. Combining forces and fusing diverse talents, John and Russell along with Burnett have produced an extraordinary album.
Product details
- Is Discontinued By Manufacturer : No
- Language : English
- Product Dimensions : 4.88 x 5.59 x 0.47 inches; 3.25 ounces
- Manufacturer : Decca
- Item model number : 15134231
- Original Release Date : 2010
- Date First Available : June 25, 2010
- Label : Decca
- ASIN : B003TWP5JC
- Country of Origin : USA
- Number of discs : 1
- Best Sellers Rank: #55,873 in CDs & Vinyl (See Top 100 in CDs & Vinyl)
- #24,508 in Pop (CDs & Vinyl)
- Customer Reviews:
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Elton John Speaks About The Union
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How can you not love the premise behind The Union? What a great reason to make an album - to return a musical idol to public attention and appreciation, as well as financial solvency. And true to form, Elton didn't try to dictate how the songwriting or the recording should turn out. He didn't try to make Leon into something he isn't. But dictating a creative outcome also would have been against Elton's natural inclination to defer to the talent of others, to afford colleagues free rein to do what they do best. Were Elton so inclined to be a meddler, though, it would have been a curious exercise given the influence Leon has had on Elton's melodic and pianistic styles. (Reflecting on the halcyon days of 1970-72, one realizes how much of Leon's down-home, funky vocal phrasings Elton adapted to his own creative sensibilities. Elton's singing on "Can I Put You On?," "The Cage," and even "Honky Cat" are tips of the hat to Leon's inspiration.)
This project, then, works so well one is tempted to think that Leon might have written Elton's songs and Elton Leon's songs, although the first track, "If it wasn't for Bad," would have been one of the quirkier efforts Elton has ever pulled off. (Yet he's been known to be quirky. Think "Madman" or "Better Off Dead" or, yes, "Bennie and the Jets.") The point is that our two heroes, who have been dubbed the "Master and the Rocket Man," are among the most obvious of duos that have never happened until now. Looking back on some of Elton's other collaborators, one is almost painfully reminded of what could have been, and been a lot sooner, if Elton hadn't gotten sidetracked by certain other people. Eric Clapton? Too much wailing guitar. Billy Joel? Too New-York-schtick. George Michael? Too stuck on marijuana.
The thing is, even if Leon is known for southern rock, only the uninitiated (or perhaps willfully ignorant) assume that this sort of music is alien to Elton. Even if Leon leans toward country, we know that Elton has featured, more often than not, at least one country track on every album he's released since the beginning. Even if Leon incorporates jazz riffs in his playing, anyone with at least one working ear drum knows that jazz forms are second nature to Elton. Even if Leon shows an affinity for secular gospel, Elton does, too, from "Border Song" to "Where's the Shoorah?" to the latest live piano intro to "Take Me to the Pilot," and beyond. Soul? Sure. Sad balladry? Certainly. Love songs? Ditto.
Today, in The Union, when Elton and Leon sing on each other's songs (or just supply backing vocals on the other's tunes), their voices complement each other. Leon sounds like a rough-edged, down-on-his-luck Willie Nelson. He can express the essence of a melody convincingly despite his lack of a conventional singing voice. Conversely, the power, richness, and tonal flexibility of Elton's vocals have progressed so dramatically since Reg rendered a boyish, tinny sound to "Come Back Baby" that it's hard to see how he can ever interpret a rocker or a ballad any better than he does now. Thus, Leon takes the vulnerable, weathered, uncertain side of a song, while Elton comforts or provides backbone, as the case may be.
The different voices of the Master and the Rocket Man blend to afford any given song an alternate perspective. But these two must have their significant differences, mustn't they? Well, yes. Elton almost never writes his own words. Leon does. And Leon's thick, lustrous, flowing hair demonstrates more follicular fortune than Elton has ever enjoyed. In fact, each musician's dramatically different capacity for hair production could be said to symbolically illustrate the difference in their personas. Leon, generally media shy, seems hidden behind a mask; Elton is out there for everybody to see, all the time, bright as the noontime sun.
So what about those fabulous new songs? Here we go:
If It Wasn't for Bad: Leon's witty, weird, magnetic draw to the adventure that The Union is. Quizzical piano chords splash their way through the song. Simple yet clever, Leon's lines are an entertaining collection of opposites, as he bitingly reflects on how he's been snookered into entering into what he thought would be a promising relationship: "If it wasn't for you I'd be happy/If it wasn't for lies you'd be true/I know that you could be just like you should/If it wasn't for bad you'd be good."
Eight Hundred Dollar Shoes: One of Elton's typically melodic country waltzes featuring cinematic lyrics from Bernie: "You came like an invasion, all bells and whistles blowin'/Reaping the rewards of the fable you'd been sowing/...Oh you came to town in headlines/And eight hundred dollar shoes."
Hey Ahab: Among the most addictive, visceral, in-your-face rockers of Elton's career, with its basis in explosive boogie-woogie. Leon provides a sort of buzzy vocal undercurrent that gives the song an almost sinister edge. Elton is at his most vocally funky here, strategically inserting grunt-hums wherever the lyric's syllables cut short.
Gone to Shiloh: A U.S. Civil War tale which, through its military march tempo, gentle percussion evoking distant cannon fire, foreboding melody, and perfect use of Neil Young's eerie, high-pitched voice to share in the verses, is one of the most haunting of recordings ever found on an Elton John album.
Jimmie Rodgers' Dream: Breezy homage to the Father of Country Music, a native of Meridian, Mississippi, who alternated between showbiz and railroad work (sometimes as a brakeman) before his untimely, Depression-era death. One may hear hints of past EJ tunes and/or Taupin lyrics: "Wicked Dreams," "Country Comfort," "Look Ma No Hands," and "Postcards from Richard Nixon" all come to mind.
There's No Tomorrow: This funeral dirge may be only a semi-original effort, given that it's built around The Mighty Hannibal's "Hymn No. 5," but it offers the most dramatic combination on the album of all available studio voices. Elton, Leon, and a backing, gospel-style chorus belt out grim lines with such force that you might have hope for the future after a couple of listens, despite what the singers contend.
Monkey Suit: Another boogie woogie-based rocker with a dash of Chuck Berry thrown in, it's a notch less gripping than "Hey Ahab" - but it would be hard to match "Ahab"'s vein-popping aggressiveness. Watch out, though, as this track may cause you to bellow "monkey suit!" incessantly, while driving in traffic, even if people are looking your way.
The Best Part of the Day: Is this really a reflection about best friends, or about lovers who fit each other like a pair of old gloves? I vote for the latter. "Grab the bottle and slide my way," Bernie writes. "Roll back the covers and raise the shades." Elton and Leon's performance captures the dreamy, relaxed satisfaction of the song's two soul mates who watch the morning unfold as they marvel at their blissful circumstances. An ideal sing-along song, it's the most folk-oriented of the album's tracks.
A Dream Come True: The tune that grew out of a jam between Elton and Leon at the start of recording; perhaps the song presenting the greatest "toe-tapping" potential. This fast-paced Fats Domino-inspired string of staccato piano phrases makes you hope the track will go on for a while, and it does, until there's nothing left but a couple of rolled piano chords and a stray tuba breath.
When Love is Dying: Some might accuse Elton here of re-working "The One," which has been unfairly denigrated as an exercise in overblown pop balladry, but one need not insult "The One" nor "When Love is Dying" to praise one or the other. Instead, their significance can be recognized with an open mind and welcoming heart. "The One" is a celebration of new love - so why shouldn't it sound like a celebration? - with a soaring melody harkening back to "Someone Saved My Life Tonight," which Elton has said was influenced by The Beach Boys. Coincidentally or not, Brian Wilson guests on "When Love is Dying," providing back-up singing and vocal arrangements. By his very involvement, he anoints the track with his approbation, as well he should. Thematically, it's the flip side of "The One," once the new lovers have spent their passion and, before they know it, can't get it back. What is more, Elton's soaring melody oozes a desperation that makes the song an heir to some of the love laments of late 50s, early 60s doo-wop ensembles. Wow.
I Should Have Sent Roses: Speaking of dying love, here is Leon's take on the phenomenon, as he assigns a moody, almost gut-wrenching, jazz-inflected melody to some of Taupin's saddest lyrics. As with "When Love is Dying," Elton and Leon trade tragic reflections, and their harmonizing on the chorus ("I never sent roses/I never did enough/I didn't know how to love you/Though I loved you so much") is spine-tingling. You feel rotten after listening, but in a good way.
Hearts Have Turned to Stone: Written and sung by Leon with Elton only providing a few choice backing vocal phrases, this is an infectious, snappy, blues number that is made more so by Leon's arrangement for the back-up singers, who echo or punctuate bits of the lyric lines as he sings: "I'm out here in the darkness (yes!)/I hear the howling wind (wind!)/Sometimes I sit and wonder (yes!)/Will I ever see love again (`gain!)."
Never Too Old (To Hold Somebody): Though written by John and Taupin, the sentiments apply equally to not only the songwriting pair of 43 years, but Leon, too. All have "been there and done that" and seen things they wish they hadn't, bearing scars to show for all of it. But they are still entitled to pursue new goals and enjoy happy companionship in their later years. It is not just a young person's world anymore. The Master and the Rocket Man vocalize most intimately here, Leon's singing sounding appropriately weary, Elton's reaching a new level of loveliness, as the backing chorus eventually chimes in for an anthemic build-up.
In the Hands of Angels: Just knowing the reason for Leon composing this song (music and lyrics) is enough to coax tears from the eyes. "Angels" tells the story of Leon's resignation to Twilight Years of obscurity and ill fortune when, lo and behold, Elton reenters his life, and proposes getting together for an album. Referring to Elton's U.S. manager, Johnny Barbis, and the Rocket Man himself, Leon sings: "Johnny and the Governor/Came and brought me to my senses/They made me feel just like a king/Made me lose all my bad defenses/And they knew all the places I needed to go/All of the people I needed to know/ They knew who I needed/And who needed me." It's a secular gospel number, despite the reference to "angels," and is the only track on the album on which Elton neither sings nor plays. But his absence is only fitting, as "Angels" is Leon's gift to him. What a way to close the album.
Fans of Elton and Leon can thank T-Bone Burnett for bringing out the best in both men and surrounding them with such capable, spirited musicians and singers.
As I got older and able to start building my own music collection,I began to search for those vintage Elton albums. "Goodbye Yellow Brick Road", "Don't Shoot Me I'm Only the Piano Player", "Captain Fantastic & the Brown Dirt Cowboy"...one by one I started to get a fuller picture of an artist that far outclassed even his greatest hits. I started to gain an apreciation for his latter works as well, and then I discovered another Elton John on an album called "Tumbleweed Connection". A rawer earthier sound, sans the polish and the glitter that marked his life and work from 1973 on. As much as I still love the wild,flamboyant Elton from the mid-1970's...there's a quality to his 1969-1972 work from "Empty Sky" through to "Honky Chateau" that he had yet to fully recapture in the albums since. 2001's "Songs from the West Coast" flirted with that earlier Elton in places, as did the two follow ups, 2004's "Peachtree Road" and 2006's "Captain and The Kid", but still it felt elusive. It was almost as if Elton himself wanted to go back to that earlier sound, but it was just out of reach.
I am happy to report that with this album, he has managed to recapture that vibe, that feel, that sound...with the help of an old friend, a legend in his own right that has unjustly been nearly forgotton.
Up until a year ago, I had little knowledge of who Leon Russell was. I had seen him mentioned in places here and there,but I never knew or realized the impact he had on the music of the 70's and beyond.I saw on Bernie Taupin's blog around that time that he and Elton were working on an album with Russell,so I set about to do some research. As a big fan of The Carpenters as well,I took notice that Leon had written three of their greatest songs "A Song For You", "This Masquerade" and most notibly, their hit "Superstar". Intrigued, I bought a couple of his albums. It was clear that he was not only an influence of Elton's early sound, but he was easily the forerunner of artists who fused country and rock such as "Lynyrd Skynrd", "The Charlie Daniels Band" and others I grew up listening to.The man was a pioneer, and few even knew who he was, myself included.
Reading the liner notes, I was touched by the story Elton told about the making of this album and how two old friends reunited and lifted each other up. The Album is just that: Uplifting. There is not a bad song on this album. Elton and Leon's dueting pianos and voices compliment each other like a hand in glove. Throughout this album, I hear echos of "Tumbleweed", "Madman" and "Chateau" without conciously attempting to. It feels organic and natural, not forced like the aforementioned more recent works did at times.
Elton sings with a conviction and energy that I haven't seen from him in a long time. True, his voice,affected by age,his 1988 throat operation,and the damage inflicted by drug and drink in the past,isn't the same elastic,wonderous instrument it once was. However, there is a maturity and a sence of world weariness that is present that lends more weight to the lyrical content that Taupin and Russell has written here. In short, If Elton still had his falsetto and tenor, and used that voice for this record, I doubt It would have the same impact that his baritone does now.For the first time in the last several albums,I didn't find myself lamenting "this song is great, but it would have been amazing if he still had his 'old' voice." This record shows the advantages of his "new" voice off well.
Leon's vocals has also been tempered a bit by age, but not to the same extent as Elton's. Leon still sounds much like the Leon of his 70's recordings with just a little more grit his voice. This is great, because he can hit the higher notes that Elton has trouble hitting these days. This may be still in essense,an "Elton" album, but Leon has quite a few of the leads as well, and makes for a ballanced, more collaborative body of work.
I could go into each and individual track and rave about every nuance, but this is one of those albums that is best heard as a collected piece. Each track is great, but the whole album is completely brilliant and must be heard to be believed. Yes,It is really THAT good.
I have seen some of the comments as to the sound quality being muddled. True, It can be at times, but It comes from the fact that most of the tracks were recorded live in the studio,with the vocals and instruments recorded together in the same room. The producer "T-Bone" Burnett, Elton and Leon wished it to be this way so that It sounded organic and fresh,like two old friends getting in the same room and jamming. I downloaded the album on here, then bought the CD to compare the quality. I can't decern no noticable difference. Both sound as rich and clear to me on my sound system.
Elton has recently said that this is the best record he has done in decades, and I have to agree. He also went on to state that he was no longer going to record Top40 material at least as far as albums are concerned,and that he will record more in the vein he did here. Hopefully,that also means he will not only record stuff of this callibur solo, but will collaborate with Russell again, because these two are perfect together.
Thank You, Elton for a great album and introducing me to a talent that we ALL should know. Thank you, Leon for all that you have done in the past, the great songs you have written, and I am looking forward to hearing more from you. You have gained a new fan. I'm sure I am not the only one who is saying that.
This is the best album of 2010 thus far. They don't make em' like Elt and Leon anymore.
Top reviews from other countries
レオン・ラッセルも申し分ないし、プロデュースは天下のT・ボーン・バーネットでいい仕事いているなあ。
ゲストはニール・ヤングとブライアン・ウィルソンがヴォーカルで参加でなんと豪華な事か。
「Gone To Shiloh」でのニールのヴォーカルは沁みるし、「When Love Is Dying」でのブライアンのコーラスとそのアレンジも最高。
80年代までのエルトンのアルバムは殆ど持っているが、90年代以降は、昨日買った「LOVE SONGS」と2004年の「Peachtree Roadしか持っていないので、偉そうな事も言えないが、今回の作品は彼の作品の中でも傑作の部類に入るのではないか。
レオン・ラッセルと競演と言う事で、何の情報もなく買ったが大正解で、こういうのは嬉しいね。