Honky Chateau [Bonus Track] [Remaster] (CD - 1972)

Lyricist: Bernie Taupin.

Personnel: Elton John (vocals, piano, electric piano, organ, keyboards, background vocals); Elton John; Gus Dudgeon (vocals, whistling, whistle, background vocals); Chris Gavin (saxophone); David Hentschel (keyboards, synthesizer, ARP synthesizer); Dee Murray (bass guitar, background vocals); Legs Larry Smith (taps); Larry Steel (background vocals); Davey Johnstone (vocals, guitar, banjo, mandolin, synthesizer, background vocals); Larry Steele, Liza Strike, Madeline Bell, Tony Hazzard (vocals, background vocals); Jean-Luc Ponty (violin, electric violin); Jean Louis Chautemps, Alain Hatot (saxophone); Ivan Julian (trumpet); Jacques Bolognesi (trombone); Nigel Olsson (drums, congas, tambourine, background vocals); Ray Cooper (congas, percussion).

Audio Remasterer: Tony Cousins.

Liner Note Author: John Tobler.

Recording information: Strawberry Studios, France.

Editor: Gus Skinas.

Unknown Contributor Role: Legs Larry Smith .

Considerably lighter than Madman Across the Water, Honky Chateau is a rollicking collection of ballads, rockers, blues, country-rock, and soul songs. On paper, it reads like an eclectic mess, but it plays as the most focused and accomplished set of songs Elton John and Bernie Taupin ever wrote. The skittering boogie of "Honky Cat" and the light psychedelic pop of "Rocket Man" helped send Honky Chateau to the top of the charts, but what is truly impressive about the album is the depth of its material. From the surprisingly cynical and nasty "I Think I'm Gonna Kill Myself" to the moving ballad "Mona Lisas and Mad Hatters," John is at the top of his form, crafting immaculate pop songs with memorable melodies and powerful hooks. While Taupin's lyrics aren't much more comprehensible than before, John delivers them with skill and passion, making them feel more substantial than they are. But what makes Honky Chateau a classic is the songcraft, and the way John ties disparate strands of roots music into distinctive and idiosyncratic pop -- it's one of the finest collections of mainstream singer/songwriter pop of the early '70s. ~ Stephen Thomas Erlewine

By the time Elton John went to France to cut HONKY CHATEAU in 1972, he had already become the first act since the Beatles to land four albums in the American Top 10 simultaneously. Up to that point, John had performed in a trio rounded out by bassist Dee Murray and drummer Nigel Olsson. The addition of guitarist Davey Johnstone on HONKY CHATEAU added another dimension to the overall sound. The results were successful, as the nonsensical "Honky Cat" and the Bowie-inspired "Rocket Man" became John's first Top 10 hits since the release of "Your Song" two years prior.

John and co. reined in the lengthy, moody excesses of MADMAN ACROSS THE WATER, turning in a highly focused collection of beautifully crafted pop. The rollicking "I Think I'm Gonna Kill Myself," the sassy "Susie (Dramas)," and the stirring "Mona Lisas And Mad Hatters" are all standouts. The John/Bernie Taupin partnership also yielded a number of songs with vivid imagery, including the Civil War-era American South of "Slave" and a front-row pew before a gospel choir in the inspirational "Salvation." Pound for pound, HONKY CHATEAU may be one the strongest, most consistent, and most pleasurable records in the mammoth John discography.

Considerably lighter than Madman Across the Water, Honky Chateau is a rollicking collection of ballads, rockers, blues, country-rock, and soul songs. On paper, it reads like an eclectic mess, but it plays as the most focused and accomplished set of songs Elton John and Bernie Taupin ever wrote. The skittering boogie of "Honky Cat" and the light psychedelic pop of "Rocket Man" helped send Honky Chateau to the top of the charts, but what is truly impressive about the album is the depth of its material. From the surprisingly cynical and nasty "I Think I'm Gonna Kill Myself" to the moving ballad "Mona Lisas and Mad Hatters," John is at the top of his form, crafting immaculate pop songs with memorable melodies and powerful hooks. While Taupin's lyrics aren't much more comprehensible than before, John delivers them with skill and passion, making them feel more substantial than they are. But what makes Honky Chateau a classic is the songcraft, and the way John ties disparate strands of roots music into distinctive and idiosyncratic pop -- it's one of the finest collections of mainstream singer/songwriter pop of the early '70s. ~ Stephen Thomas Erlewine minimize