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This programme contains some strong language | 0:00:00 | 0:00:02 | |
The gentleman you have all been waiting for, | 0:00:02 | 0:00:04 | |
the biggest, most colossal, gigantic, | 0:00:04 | 0:00:08 | |
fantastic Elton John! | 0:00:08 | 0:00:12 | |
Sir Elton Hercules John, flamboyant piano man, campaigner, | 0:00:16 | 0:00:20 | |
collector and a national treasure. | 0:00:20 | 0:00:23 | |
Possibly the most successful male solo artist of all time, | 0:00:23 | 0:00:26 | |
he's squeezed a lot into his 63 years. | 0:00:26 | 0:00:29 | |
But this is the story of the Elton we sometimes forget, | 0:00:29 | 0:00:32 | |
the singer-songwriter who quietly emerged on to the music scene exactly 40 years ago. | 0:00:32 | 0:00:38 | |
To the bemusement of his songwriting partner, Bernie Taupin, | 0:00:38 | 0:00:41 | |
he shot to fame in America and in a few crazy years became the biggest popstar on the planet. | 0:00:41 | 0:00:47 | |
It is kind of tragic that when you ask the general public the question "Elton John" | 0:00:47 | 0:00:53 | |
they think of big glasses and The Lion King and Crocodile Rock. It's all quite wrong, really. | 0:00:53 | 0:01:00 | |
But now Elton's heading in a new direction and that's back, back to where it all began. | 0:01:00 | 0:01:06 | |
To go forward in my career as a recording artist, I've got to go back. | 0:01:06 | 0:01:10 | |
I've got to revisit what I did. That's where my heart was, in the soulful, joyful, country, | 0:01:10 | 0:01:16 | |
gospel, funky rock 'n' roll, that element of the South, that's where I am. That's my true spirit. | 0:01:16 | 0:01:22 | |
# Saturday, Saturday, Saturday | 0:01:22 | 0:01:25 | |
# Saturday, Saturday, Saturday night's all right | 0:01:25 | 0:01:30 | |
CHEERING AND APPLAUSE | 0:01:30 | 0:01:33 | |
Hugh Nurial from Harrow draws the train. | 0:01:42 | 0:01:46 | |
On and on north-westwards. | 0:01:46 | 0:01:48 | |
London far away | 0:01:48 | 0:01:51 | |
and stations start to look quite countrified. | 0:01:51 | 0:01:56 | |
Pinner, a parish of 1,000 souls | 0:01:56 | 0:01:59 | |
till railways gave it many thousands more. | 0:01:59 | 0:02:04 | |
Growing up the only child of a troubled marriage in post-war Pinner, | 0:02:04 | 0:02:08 | |
young Reg Dwight used music as a way of escape from his solitary life. | 0:02:08 | 0:02:12 | |
I used to find solace in music. When my parents used to argue, | 0:02:12 | 0:02:17 | |
I used to go in my room and listen to Radio Luxembourg. | 0:02:17 | 0:02:20 | |
Radio filled my head with dreams. | 0:02:20 | 0:02:23 | |
I had a few friends, I had my cousins and stuff like that, | 0:02:23 | 0:02:27 | |
but music was my best friend and I lived and breathed for it. | 0:02:27 | 0:02:31 | |
PIANO PLAYS | 0:02:31 | 0:02:34 | |
I grew up playing by ear at a very early age. | 0:02:36 | 0:02:40 | |
I could pick up any tune and play it. | 0:02:40 | 0:02:43 | |
And when I started playing the piano by ear, it was Winifred Atwell and people like that. | 0:02:43 | 0:02:47 | |
SHE PLAYS FAST-PACED JAZZ | 0:02:47 | 0:02:50 | |
My parents, thankfully, asked me to have lessons when I was seven | 0:02:52 | 0:02:56 | |
and I did and I won a scholarship to the Royal Academy of Music. | 0:02:56 | 0:03:00 | |
11-year-old Reg joined the academy's junior exhibitioner scheme | 0:03:03 | 0:03:07 | |
for state school children who showed an exceptional gift for music. | 0:03:07 | 0:03:11 | |
It's funny, I've had hundreds of pupils | 0:03:13 | 0:03:17 | |
and yet I remember him so clearly. | 0:03:17 | 0:03:22 | |
He was a dear. I was very fond of him. | 0:03:22 | 0:03:25 | |
He had such a marvellous ear. | 0:03:25 | 0:03:28 | |
But I do remember that he couldn't read music. | 0:03:28 | 0:03:31 | |
So I gave him these books to catch up on being a pianist. | 0:03:31 | 0:03:36 | |
Also at the academy, he learnt how to construct music. | 0:03:37 | 0:03:41 | |
He learnt about the chords and phrases | 0:03:41 | 0:03:44 | |
and how different composers constructed their music | 0:03:44 | 0:03:49 | |
and everything that would help him if he wanted to write his own music. | 0:03:49 | 0:03:55 | |
THEY PLAY FAST-PACED ROCK 'N' ROLL | 0:03:55 | 0:03:58 | |
But by the late 50s, British teenagers had other ideas of how to tinkle the ivories. | 0:03:59 | 0:04:05 | |
Rock 'n' roll arrived and changed the world. It changed my world. | 0:04:06 | 0:04:10 | |
# Well, come on over, baby | 0:04:10 | 0:04:12 | |
# We got chicken in the barn, whose barn, what barn, my barn | 0:04:12 | 0:04:16 | |
Jerry Lee Lewis, Little Richard, Ray Charles, Fats Domino came into play | 0:04:16 | 0:04:20 | |
and so it was a whole new ball game. | 0:04:20 | 0:04:22 | |
# Whole lot of shaking going on | 0:04:22 | 0:04:25 | |
He hadn't been showing such enthusiasm for the last year, I should say. | 0:04:25 | 0:04:28 | |
I didn't know that he'd formed his own band | 0:04:28 | 0:04:32 | |
and that he had a quite different love of music from mine. | 0:04:32 | 0:04:38 | |
# Shake | 0:04:38 | 0:04:40 | |
# Shake | 0:04:41 | 0:04:43 | |
# Shake, baby, shake, baby | 0:04:44 | 0:04:46 | |
I formed a band at 15 called Bluesology with a couple of friends. | 0:04:46 | 0:04:50 | |
I still didn't know what I wanted to do. I knew I wouldn't be a classical pianist. I didn't want to be. | 0:04:50 | 0:04:55 | |
I just wanted to be in a band and play rock 'n' roll. | 0:04:55 | 0:04:58 | |
Bluesology were a collection of like-minded lads | 0:05:00 | 0:05:03 | |
from the Pinner and Northwood Hills area of Northwest London. | 0:05:03 | 0:05:07 | |
# Getting tougher than tough | 0:05:07 | 0:05:10 | |
# This thing's getting rougher than rough | 0:05:10 | 0:05:13 | |
Reg was square compared with the other people that were in our band. | 0:05:15 | 0:05:21 | |
Very short hair, little round glasses. | 0:05:21 | 0:05:25 | |
He didn't look the part at all. | 0:05:25 | 0:05:28 | |
We didn't see a great deal of him socially. | 0:05:30 | 0:05:34 | |
But when he got down and played, everything else was just put aside. | 0:05:34 | 0:05:40 | |
He was... He obviously had an immense talent. | 0:05:40 | 0:05:43 | |
He could do anything. He could sit down with a stack of music | 0:05:52 | 0:05:55 | |
and work his way through it, he could play rock 'n' roll, | 0:05:55 | 0:05:58 | |
boogie-woogie, jazz, you name it. | 0:05:58 | 0:06:00 | |
We couldn't have done what we did without him. | 0:06:01 | 0:06:04 | |
Because of his musical knowledge, he was the person to knit it all together. | 0:06:04 | 0:06:09 | |
I always got the impression that he wanted to progress his career | 0:06:09 | 0:06:15 | |
probably more than other members of the band | 0:06:15 | 0:06:19 | |
and this was just a stepping stone. | 0:06:19 | 0:06:23 | |
By the age of 17, young Reg | 0:06:23 | 0:06:25 | |
was set on his path as a musician and school had become something of a distraction. | 0:06:25 | 0:06:30 | |
My headmaster at Pinner County was Mr Westgate-Smith. I was petrified of him. | 0:06:30 | 0:06:35 | |
And I knocked on his door and I told him the story of why I wanted to leave and he said, | 0:06:35 | 0:06:39 | |
"I know how much music means to you. | 0:06:39 | 0:06:42 | |
"I give you my blessing but make sure you work hard at everything you do." | 0:06:42 | 0:06:47 | |
Taking the lead, Reg set to work writing Bluesology's first single. | 0:06:50 | 0:06:54 | |
I wasn't the lead singer but they didn't like the lead singer's voice so I had to sing | 0:06:55 | 0:06:59 | |
which went down well with the lead singer. | 0:06:59 | 0:07:02 | |
# Come back baby | 0:07:02 | 0:07:05 | |
# Come back to me, yeah | 0:07:05 | 0:07:09 | |
Now armed with their first seven-inch, | 0:07:09 | 0:07:11 | |
the band's next step on the road to turning pro was to pay their dues | 0:07:11 | 0:07:15 | |
backing R'n'B acts for the infamous Roy Tempest agency. | 0:07:15 | 0:07:18 | |
Tempest had hit on the wonderful idea | 0:07:18 | 0:07:21 | |
of importing acts into the UK whose careers were a little bit on the downward slop | 0:07:21 | 0:07:29 | |
because they could get them cheap and by the time they got here | 0:07:29 | 0:07:32 | |
they were in for two weeks of solid hard work. | 0:07:32 | 0:07:35 | |
# I give you all I have baby | 0:07:35 | 0:07:40 | |
# But when you leave my arms I know... | 0:07:40 | 0:07:44 | |
These gigs turned out to be a master class in stage craft from the seasoned veterans. | 0:07:44 | 0:07:50 | |
Patti LaBelle and Billy Stewart, Major Lance, The Ink Spots, | 0:07:50 | 0:07:53 | |
they were all great. Major Lance. Billy Stewart, | 0:07:53 | 0:07:57 | |
one of the greatest underrated R'n'B stars of all time, enormous big man. | 0:07:57 | 0:08:02 | |
HE ROLLS HIS TOUNGUE | 0:08:02 | 0:08:04 | |
-The way he carried himself and the way he sang... -HE ROLLS HIS TONGUE | 0:08:08 | 0:08:11 | |
In the summertime. He was fantastic. | 0:08:11 | 0:08:14 | |
# Summertime | 0:08:14 | 0:08:17 | |
# And the living is easy | 0:08:18 | 0:08:21 | |
It was that era of R'n'B where they all did the movements | 0:08:22 | 0:08:27 | |
and they knew how to do a show, whether it was 30 minutes, 45 minutes, an hour or ten minutes, | 0:08:27 | 0:08:32 | |
they knew how to get the audience. You just watched. | 0:08:32 | 0:08:35 | |
# Get enough then I'm going to Hollywood | 0:08:35 | 0:08:40 | |
Nothing's better for you than to go out and play live, even to 20 people. | 0:08:40 | 0:08:44 | |
It gives you resolve, it hardens you up and it makes you a better songwriter, | 0:08:44 | 0:08:49 | |
it gives you the experience, the backbone. | 0:08:49 | 0:08:52 | |
# Well, you know the night time | 0:08:52 | 0:08:55 | |
# Oh, the right time | 0:08:55 | 0:08:57 | |
Having made a name for themselves as a backing band, | 0:08:57 | 0:09:00 | |
Bluesology's next gig came from a little closer to home. | 0:09:00 | 0:09:04 | |
We joined Long John Baldry. John was a blues singer | 0:09:04 | 0:09:08 | |
so we were doing Della Reese and Nina Simone songs. Great. | 0:09:08 | 0:09:11 | |
We're talking about Mr Long John Baldry! | 0:09:11 | 0:09:15 | |
He was pretty well established on the blues scene, Baldry. | 0:09:15 | 0:09:18 | |
And subsequently he had a big number one hit in 1967. | 0:09:18 | 0:09:23 | |
A dreadful toe-curling record. | 0:09:23 | 0:09:26 | |
Let The Heartaches Begin. HE LAUGHS | 0:09:26 | 0:09:28 | |
# So let the heartaches begin | 0:09:28 | 0:09:34 | |
Consequently, dates changed. We were playing in supper clubs and it was cabaret. | 0:09:36 | 0:09:40 | |
And I was playing and I was getting more and more depressed | 0:09:40 | 0:09:43 | |
and I thought, "This isn't the reason I wanted to play in a band, I hate this." | 0:09:43 | 0:09:48 | |
There was one time we were playing in this club in London | 0:09:50 | 0:09:53 | |
and Reg got so hacked off with it, we were in the middle of a song | 0:09:53 | 0:09:57 | |
and all of a sudden you can hear this racket going on at the back. | 0:09:57 | 0:10:02 | |
And I turned round and there's him just completely lost his bottle, | 0:10:02 | 0:10:06 | |
tipped the organ up, he's fuming around, "I've had enough!" | 0:10:06 | 0:10:11 | |
And Baldry's still trying to sing... # Let's the heartaches begin | 0:10:11 | 0:10:15 | |
HE LAUGHS | 0:10:17 | 0:10:19 | |
It was time to go then, yeah. | 0:10:20 | 0:10:24 | |
If I don't go, I'm going to be stuck here or work in a record shop. | 0:10:24 | 0:10:28 | |
There's no future in this. | 0:10:28 | 0:10:31 | |
There's no future whatsoever. | 0:10:31 | 0:10:33 | |
So I answered that infamous advert from Liberty Records in the NME | 0:10:33 | 0:10:37 | |
wanting talent and songwriters. | 0:10:37 | 0:10:40 | |
Another response to the talent-wanted ad came from a lonesome poet from Lincolnshire | 0:10:48 | 0:10:52 | |
with aspirations of making it as a songwriter. | 0:10:52 | 0:10:55 | |
# If you're travelling in the north country fair | 0:10:55 | 0:11:00 | |
Bernie came down from Lincolnshire and he was this very young boy with long hair, | 0:11:00 | 0:11:04 | |
very attractive, big reader, | 0:11:04 | 0:11:07 | |
huge Dylan fan. | 0:11:07 | 0:11:09 | |
He got me into Dylan far more than I was before. | 0:11:09 | 0:11:14 | |
And we started writing together and it felt comfortable straight away. | 0:11:14 | 0:11:17 | |
It was like a hand in a glove. | 0:11:17 | 0:11:20 | |
I just remember that we were both very shy, you know? | 0:11:20 | 0:11:24 | |
Being an only child, I think, gave him a certain way of being | 0:11:24 | 0:11:30 | |
and for me, being a country kid in the big city, | 0:11:30 | 0:11:35 | |
I was sort of out of my depth, so I think we were both swimming in deep water | 0:11:35 | 0:11:41 | |
and basically trying to find something to hang onto and we found each other. | 0:11:41 | 0:11:46 | |
Bunking at Reg's mum's house in Pinner, the new best friends settled into a daily routine. | 0:11:48 | 0:11:54 | |
Commuting from the suburbs to swinging Soho. | 0:11:54 | 0:11:57 | |
# I live on the corner of the 99th floor of my block | 0:11:57 | 0:12:02 | |
Denmark Street, on any given day, | 0:12:02 | 0:12:05 | |
you could see pretty much anybody going through there. | 0:12:05 | 0:12:09 | |
So bands like The Kinks, The Stones, Donovan, | 0:12:09 | 0:12:13 | |
they'd be doing publishing deals and recording demos, so there was all this activity going on. | 0:12:13 | 0:12:18 | |
In contrast to this youthful scene, Reg and Bernie's destination | 0:12:18 | 0:12:22 | |
was an apprenticeship in the old world music biz Mecca known as Tin Pan Alley. | 0:12:22 | 0:12:26 | |
"London's Tin Pan Alley, birthplace of melodies which have kept Britain singing to good times and bad. | 0:12:26 | 0:12:32 | |
"Just 60 yards of plate glass windows..." | 0:12:32 | 0:12:35 | |
The pair were fixed up with a job as staff writers at the Beatles' veteran song publisher | 0:12:35 | 0:12:39 | |
Dick James Music. | 0:12:39 | 0:12:41 | |
It was a very old-school environment. Dick was a hard-line | 0:12:41 | 0:12:47 | |
Jewish music-business man | 0:12:47 | 0:12:49 | |
and he ran an office that was a little bit old-fashioned in a way. | 0:12:49 | 0:12:55 | |
It was like the changing of the guard. | 0:12:55 | 0:12:57 | |
It was so funny cos a lot of the guys that had these office cubicles within Dick James' office, | 0:12:57 | 0:13:03 | |
they were like artefacts of the music hall days, you know? | 0:13:03 | 0:13:09 | |
We'd hang out in the pubs and listen to all the old cronies talk about the good old days | 0:13:09 | 0:13:14 | |
and have them point fingers at us and say, "You're not professionals! | 0:13:14 | 0:13:18 | |
"You've got to be around for a long time to be called a professional!" | 0:13:18 | 0:13:22 | |
And now, ladies and gentlemen, A Song For Europe. | 0:13:22 | 0:13:26 | |
And tonight, song number four, | 0:13:26 | 0:13:29 | |
written by Bernie Taupin and Elton John. | 0:13:29 | 0:13:32 | |
Lulu sings I Can't Go On Living Without You. | 0:13:32 | 0:13:36 | |
# I once said I could go on | 0:13:36 | 0:13:40 | |
# Without your love | 0:13:40 | 0:13:42 | |
# I would be strong but things have changed | 0:13:43 | 0:13:47 | |
# And heavens above | 0:13:47 | 0:13:50 | |
# I know that I need you | 0:13:51 | 0:13:53 | |
Bernie and I started off as songwriters that wrote hits for other people and we were terrible. | 0:13:53 | 0:13:58 | |
# I can't go on living without you | 0:13:58 | 0:14:01 | |
# Oh, no, my love | 0:14:01 | 0:14:04 | |
Reg and Bernie spent two fruitless years trying to churn out hits | 0:14:04 | 0:14:08 | |
for popstars like Tom Jones and Engelbert Humperdinck. | 0:14:08 | 0:14:11 | |
They never quite got it right. | 0:14:11 | 0:14:14 | |
# Living without you, ohh | 0:14:14 | 0:14:17 | |
Bernie and I had so many times where we felt like jacking it in. | 0:14:17 | 0:14:21 | |
We would come back on the train to my parents' flat | 0:14:21 | 0:14:24 | |
and we'd sit down with my mum and say, "Oh, no-one's covered our song, I think we'll chuck it in." | 0:14:24 | 0:14:30 | |
She said, "You get paid every week. Go and work in the greengrocers, then. What would you rather do?" | 0:14:30 | 0:14:36 | |
Since their partnership began, Reg and Bernie had been recording demos of their own songs | 0:14:37 | 0:14:42 | |
for Reg to one day perform himself. | 0:14:42 | 0:14:45 | |
Reg came into my office one day and said, | 0:14:45 | 0:14:48 | |
"We've more or less laid down an album | 0:14:48 | 0:14:51 | |
"and we're looking to release it on the DJM label." | 0:14:51 | 0:14:56 | |
I said to him, "We can't put it out under the name Reg Dwight. | 0:14:56 | 0:15:00 | |
"It's not a very awe-inspiring name." | 0:15:00 | 0:15:03 | |
Simply combining the names of Long John Baldry and Elton Dean, the sax player in Bluesology, | 0:15:03 | 0:15:10 | |
Reg came up with Elton John. | 0:15:10 | 0:15:12 | |
# Fly away skyline pigeon fly | 0:15:13 | 0:15:19 | |
Empty Sky was released in June 1969 but went largely unnoticed. | 0:15:19 | 0:15:24 | |
Empty Sky did have a proper release | 0:15:24 | 0:15:27 | |
and I'm sure review copies were sent around, | 0:15:27 | 0:15:29 | |
but nobody paid any attention to it at all. | 0:15:29 | 0:15:31 | |
And in musical terms, it was really not much more than demos. | 0:15:31 | 0:15:36 | |
Reg's creation Elton John was still a work in progress. | 0:15:36 | 0:15:40 | |
He's not really Marc Bolan, is he? That was my immediate thought. | 0:15:41 | 0:15:46 | |
I thought, "He's a bit short and a big chubby | 0:15:46 | 0:15:48 | |
"and I don't know whether he's got the wherewithal | 0:15:48 | 0:15:51 | |
"to be an artiste." | 0:15:51 | 0:15:55 | |
Taking all his musical experience, | 0:15:56 | 0:15:59 | |
a batch of new and improved lyrics from Bernie | 0:15:59 | 0:16:01 | |
and the production team behind David Bowie's hit Space Oddity, | 0:16:01 | 0:16:06 | |
Elton was about to seize his moment. | 0:16:06 | 0:16:09 | |
Elton told Gus and me explicitly and specifically, | 0:16:11 | 0:16:16 | |
"You have carte blanche, we want you to do your own thing." | 0:16:16 | 0:16:20 | |
Gus came in with my father and myself | 0:16:20 | 0:16:23 | |
and asked for quite a high budget. | 0:16:23 | 0:16:25 | |
And having heard the songs, wanted to orchestrate them. | 0:16:25 | 0:16:29 | |
We were looking at a very high budget | 0:16:29 | 0:16:32 | |
and we decided to take the gamble. | 0:16:32 | 0:16:35 | |
ORCHESTRA PLAYS | 0:16:35 | 0:16:38 | |
We were very careful to create a beautiful soundscape, | 0:16:44 | 0:16:49 | |
knowing that it was going to sound really nice. | 0:16:49 | 0:16:53 | |
Maybe lovely is a nice word. | 0:16:53 | 0:16:56 | |
# Peering out of tiny eyes | 0:16:59 | 0:17:02 | |
# The grubby hands that grip the rail | 0:17:02 | 0:17:05 | |
# Wiped the window clean of frost | 0:17:05 | 0:17:08 | |
# As the morning air | 0:17:08 | 0:17:11 | |
# Laid on the latch | 0:17:11 | 0:17:13 | |
It all went very smoothly. | 0:17:15 | 0:17:17 | |
Dick James was overjoyed and we just got more and more excited | 0:17:17 | 0:17:20 | |
as to the prospects of the success of this record. | 0:17:20 | 0:17:24 | |
Here was Elton John reborn as the profound singer-songwriter, | 0:17:26 | 0:17:30 | |
complete with orchestral arrangements, heartfelt lyrics | 0:17:30 | 0:17:33 | |
and now the look to carry it all off. | 0:17:33 | 0:17:36 | |
# I have been removed | 0:17:36 | 0:17:38 | |
Singer-songwriters at the time were fairly moody characters | 0:17:38 | 0:17:42 | |
and Elton seemed like quite a shy little fellow when you met him. | 0:17:42 | 0:17:46 | |
And Bernie's words were very much in this singer-songwriter mould at the time, so that suited him. | 0:17:46 | 0:17:55 | |
I was on the undercurrent. I hadn't had a chart success but I was on the verge. | 0:17:55 | 0:18:00 | |
# Been removed | 0:18:00 | 0:18:03 | |
We got some airplay. I don't remember it breaking into the top 30. | 0:18:04 | 0:18:10 | |
And we, to be blunt, were struggling. | 0:18:10 | 0:18:12 | |
# I have been deceived | 0:18:12 | 0:18:16 | |
The Elton John album wasn't selling in Britain, | 0:18:16 | 0:18:18 | |
so desperate to secure any return on his investment, | 0:18:18 | 0:18:21 | |
Dick James hawked the record to his contacts across the pond. | 0:18:21 | 0:18:25 | |
In the post comes this Elton John album. | 0:18:25 | 0:18:29 | |
So I take it out and I put it on my turntable | 0:18:29 | 0:18:32 | |
and I listen to this great album | 0:18:32 | 0:18:35 | |
and I said, "Thank you, God! This is incredible!" | 0:18:35 | 0:18:38 | |
It was one of the greatest...pieces of music I'd ever heard in my life! | 0:18:38 | 0:18:44 | |
# He's my brother | 0:18:44 | 0:18:48 | |
# Let us live in peace | 0:18:48 | 0:18:50 | |
So then I said, "We have to bring him to America | 0:18:50 | 0:18:53 | |
"and break him here in America." | 0:18:53 | 0:18:56 | |
This enthusiasm from the Americans was enough to persuade Dick James | 0:19:02 | 0:19:07 | |
to fund one last attempt to launch Elton | 0:19:07 | 0:19:09 | |
by sending him and his band to LA. | 0:19:09 | 0:19:12 | |
Dick sent them over there | 0:19:12 | 0:19:15 | |
and it basically was sink or swim. | 0:19:15 | 0:19:18 | |
This was the last... This was it. | 0:19:20 | 0:19:22 | |
Touching down in Los Angeles was the stuff of dreams for Elton and Bernie | 0:19:22 | 0:19:27 | |
and a far cry from their shared bedroom in the London suburbs. | 0:19:27 | 0:19:31 | |
I was just interested in going because it was America. | 0:19:31 | 0:19:35 | |
I'd always wanted to come here. It was a dream. | 0:19:35 | 0:19:38 | |
The band were met by a welcoming party intent on presenting Elton as someone who was already a star. | 0:19:39 | 0:19:45 | |
We were driving from the airport down the freeway | 0:19:45 | 0:19:49 | |
and then we got to the Sunset Strip and it was like being on parade. | 0:19:49 | 0:19:54 | |
It was just unbelievable. The California sunshine | 0:19:54 | 0:19:58 | |
and pretty girls all over the place. It was amazing. | 0:19:58 | 0:20:01 | |
There was still a transition from the 60s going on. | 0:20:05 | 0:20:08 | |
There was still the singer-songwriter era | 0:20:08 | 0:20:12 | |
and flower power and that whole summer of love and all that stuff. | 0:20:12 | 0:20:16 | |
It started in LA. So he came into a very vibrant scene. | 0:20:16 | 0:20:21 | |
The US label men made sure the great and the good of LA's music scene | 0:20:26 | 0:20:30 | |
were assembled for Elton's week-long stint at the Troubadour Club. | 0:20:30 | 0:20:34 | |
It was brilliant that Russ Regan, the head of UNI Records, put him in this club rather than The Whisky | 0:20:34 | 0:20:40 | |
cos the rock acts were playing The Whisky. | 0:20:40 | 0:20:42 | |
This was the songwriters' club. This was where you sat every week | 0:20:42 | 0:20:46 | |
and you saw Joni Mitchell and James Taylor and Tim Hardin and those guys. | 0:20:46 | 0:20:50 | |
So he was putting Elton John in that company. | 0:20:50 | 0:20:55 | |
# Senorita play guitar | 0:20:55 | 0:20:59 | |
# Plays it just for you | 0:20:59 | 0:21:02 | |
# My rosary has broken... | 0:21:02 | 0:21:06 | |
Elton fitted right in at the Troubadour | 0:21:07 | 0:21:09 | |
but had a lot more to offer thanks to his apprenticeship in rock 'n' roll and rhythm and blues. | 0:21:09 | 0:21:14 | |
All of a sudden, he jumps up from the piano, | 0:21:14 | 0:21:17 | |
he kicks the thing and I go, you're always relating to things, "This is Jerry Lee Lewis!" | 0:21:17 | 0:21:23 | |
I was having a ball. And we rocked. Had a great three-piece band | 0:21:24 | 0:21:27 | |
and I came out and did 60 Years On, but it wasn't really like the record, | 0:21:27 | 0:21:31 | |
it was more like an extended jam version. | 0:21:31 | 0:21:33 | |
# 60 years on | 0:21:33 | 0:21:36 | |
He had terrific songs of a wide range. He was not copying what other people were doing. | 0:21:36 | 0:21:42 | |
So by the end of the evening, the place was a buzz! | 0:21:42 | 0:21:45 | |
It was like, "Can you believe what you just saw?" | 0:21:45 | 0:21:47 | |
And I couldn't wait to run to the typewriter and write. | 0:21:47 | 0:21:51 | |
That one night and that one review saved me a year's work. | 0:21:51 | 0:21:54 | |
I mean, there was no internet, but it flew, word of mouth. | 0:21:54 | 0:21:59 | |
# Burn down the mission | 0:21:59 | 0:22:02 | |
Overnight, Elton had gone from the last chance saloon to the talk of the town. | 0:22:02 | 0:22:07 | |
It was so exciting for us. | 0:22:07 | 0:22:09 | |
We could see in the audience these people. Steve Stills was there. | 0:22:09 | 0:22:13 | |
Some of the Three Dog Night guys were there. I think even Diana Ross was there. | 0:22:13 | 0:22:18 | |
Hey, Leon! | 0:22:18 | 0:22:20 | |
Also in the crowd was the songwriter and piano man of the times that Elton admired the most. | 0:22:21 | 0:22:28 | |
The second night at the Troubadour, I was halfway through Burn Down The Mission | 0:22:28 | 0:22:32 | |
and then I saw Leon in the second row, | 0:22:32 | 0:22:35 | |
the long grey hair and the aviator glasses, and I totally froze | 0:22:35 | 0:22:39 | |
because he was, at that particular time in my life, he was my idol. Without question. | 0:22:39 | 0:22:46 | |
# Please don't ask how many times I found you | 0:22:47 | 0:22:53 | |
Leon Russell was a cult figure on the American music scene, | 0:22:54 | 0:22:57 | |
a sought-after session man and songwriter. | 0:22:57 | 0:23:00 | |
I was petrified meeting him afterwards cos I thought he was going to tie me to a chair and say, | 0:23:00 | 0:23:05 | |
"This is how to play". And, of course, he embraced me and was very complimentary. | 0:23:05 | 0:23:09 | |
He was quite a beautiful soul singer, | 0:23:09 | 0:23:12 | |
had a huge blues awareness that I found interesting. | 0:23:12 | 0:23:17 | |
I thought my career was over | 0:23:17 | 0:23:19 | |
cos he was a lot more active, a lot more showmanship. | 0:23:19 | 0:23:23 | |
So I figured I'd had it. | 0:23:23 | 0:23:26 | |
That's what I was getting in those early shows at the Troubadour, | 0:23:26 | 0:23:29 | |
musicians that I respected coming up to me and saying, "This is really great". | 0:23:29 | 0:23:34 | |
So I knew I was doing the right thing. And my music at that point was more American anyway. | 0:23:34 | 0:23:39 | |
APPLAUSE | 0:23:39 | 0:23:41 | |
Ladies and gentlemen, a few months ago, a young man came over from England | 0:23:41 | 0:23:45 | |
and he shot right to the top of the pop music field. | 0:23:45 | 0:23:47 | |
His first album is hit, his first single is a hit | 0:23:47 | 0:23:52 | |
-and I hate him. -LAUGHTER | 0:23:52 | 0:23:54 | |
-No, I really like him. I mean, I really like him. -LAUGHTER | 0:23:54 | 0:23:58 | |
Elton didn't fight his way in, he just exploded into the charts. There was a door waiting for him. | 0:23:58 | 0:24:03 | |
The 60s were winding down and you didn't know what the 70s were going to be, you know? | 0:24:03 | 0:24:08 | |
The Beatles are breaking up, right? Was rock 'n' roll over? Where was it going to go? | 0:24:08 | 0:24:13 | |
# It's a little bit funny | 0:24:13 | 0:24:15 | |
# This feeling inside | 0:24:17 | 0:24:20 | |
# I'm not one of those who can | 0:24:21 | 0:24:24 | |
# Easily hide | 0:24:24 | 0:24:27 | |
# I don't have much money but... | 0:24:28 | 0:24:32 | |
Your Song was just one of those songs that came at a time when people were reaching for something that felt real | 0:24:32 | 0:24:37 | |
and Your Song was such a sweet song, it was like expressing love | 0:24:37 | 0:24:42 | |
with the inarticulateness of young people. | 0:24:42 | 0:24:45 | |
# So excuse me forgetting | 0:24:45 | 0:24:48 | |
# But these things I do | 0:24:49 | 0:24:52 | |
# You see, I've forgotten | 0:24:52 | 0:24:56 | |
# If they're green or they're blue | 0:24:56 | 0:25:00 | |
# Anyway, the thing is | 0:25:01 | 0:25:02 | |
It was written out of pure innocence. I mean, when you listen to the lyric of that song, | 0:25:03 | 0:25:08 | |
you can tell that it's written by somebody who's very naive and very young and I was. | 0:25:08 | 0:25:13 | |
I mean, I was 17 years old, never been kissed. | 0:25:13 | 0:25:17 | |
Well, I don't know about that, but pretty much. | 0:25:17 | 0:25:22 | |
# And you can tell everybody | 0:25:23 | 0:25:27 | |
# This is your song | 0:25:28 | 0:25:30 | |
With Your Song, Elton and Bernie finally found their voice | 0:25:32 | 0:25:35 | |
and back home it became their first top-ten hit. | 0:25:35 | 0:25:38 | |
"Elton John, a remarkable man from the world of pop | 0:25:38 | 0:25:42 | |
"who some would claim to be Britain's newest musical superstar." | 0:25:42 | 0:25:46 | |
The boys who'd shared a room and a dream of becoming famous songwriters returned home men | 0:25:46 | 0:25:52 | |
where they were now being compared to their heroes. | 0:25:52 | 0:25:55 | |
"Songs like 60 Years On are prompting American as well as British critics | 0:25:55 | 0:25:59 | |
"to suggest that Elton John and his partner Bernie Taupin | 0:25:59 | 0:26:02 | |
"could well be the most inventive and original team of songwriters since Lennon and McCartney." | 0:26:02 | 0:26:07 | |
# How wonderful life is | 0:26:07 | 0:26:10 | |
# While you're in the world | 0:26:10 | 0:26:14 | |
Elton, once the shy and retiring songwriter, now had a new air of confidence. | 0:26:14 | 0:26:19 | |
When it happened, it happened so fast and I was surprised myself | 0:26:20 | 0:26:25 | |
at how he suddenly took off and became this other person. | 0:26:25 | 0:26:29 | |
I happened to be, it must have been about 1970, 1971, | 0:26:33 | 0:26:38 | |
and I was watching TV | 0:26:38 | 0:26:41 | |
and they introduced him as Mr Elton John | 0:26:41 | 0:26:45 | |
and I didn't take... Then I peered at the television set | 0:26:45 | 0:26:49 | |
and I thought, "That's not Elton John, that's Reg Dwight". | 0:26:49 | 0:26:53 | |
# Well, my baby left me and never said a thing... | 0:26:53 | 0:26:57 | |
There was now little of the old Reg Dwight on show | 0:27:01 | 0:27:04 | |
and Elton's stage presence had also grown. | 0:27:04 | 0:27:07 | |
I always say I was a bit like the Jimi Hendrix of the piano | 0:27:09 | 0:27:12 | |
because I was just... I had freedom. I could do exactly what I wanted. I couldn't throw it in the air, | 0:27:12 | 0:27:18 | |
play it behind my back, but I could certainly fly on it and do handstands on it. | 0:27:18 | 0:27:22 | |
# All right | 0:27:24 | 0:27:25 | |
He loved all that early success and it was just so much more fun | 0:27:27 | 0:27:32 | |
and he was having a good time and he was making a few bob. | 0:27:32 | 0:27:36 | |
And there's nothing like a bit of success, is there? You know? | 0:27:36 | 0:27:39 | |
It's a pretty good drug. HE LAUGHS | 0:27:39 | 0:27:43 | |
When he became Elton John, he was rebelling against everything he wasn't allowed to do as a child. | 0:27:45 | 0:27:51 | |
So it was like he was escaping this repression | 0:27:51 | 0:27:55 | |
that was forced upon him when he was younger. | 0:27:55 | 0:27:58 | |
Thank you. | 0:27:58 | 0:28:00 | |
By this time, he had come out. | 0:28:00 | 0:28:03 | |
Not publically but to himself. | 0:28:03 | 0:28:06 | |
So that made him more comfortable in his own skin. | 0:28:06 | 0:28:09 | |
And by this time he had met John Reid and they were a pretty formidable team. | 0:28:09 | 0:28:16 | |
They were out to conquer the world. | 0:28:16 | 0:28:18 | |
John Reid, a precocious young record label exec, | 0:28:21 | 0:28:24 | |
became Elton's partner and manager through the most prolific period of his career. | 0:28:24 | 0:28:29 | |
Alongside constant touring, Elton would release seven albums in the next three years. | 0:28:29 | 0:28:35 | |
I look back on it now and I think | 0:28:35 | 0:28:37 | |
it's a lot of young adrenaline and you only have that adrenaline for a certain part of your career. | 0:28:37 | 0:28:42 | |
But the most important thing was that we had to do, under contract, two records a year. | 0:28:42 | 0:28:47 | |
The follow-up to the Elton John LP was already finished and ready to release. | 0:28:47 | 0:28:52 | |
Tumbleweed Connection, born out of Elton and Bernie's shared love for all things American, | 0:28:56 | 0:29:02 | |
seemed perfect for their new audience stateside. | 0:29:02 | 0:29:05 | |
# I pulled down the Stage Coach Times | 0:29:08 | 0:29:11 | |
# And I read the latest news | 0:29:11 | 0:29:14 | |
I don't know if we knew when we started doing the Tumbleweed album | 0:29:14 | 0:29:19 | |
that it was going to be such a conceptualised Americana piece. | 0:29:19 | 0:29:24 | |
That album was recorded before we even went to the States. | 0:29:24 | 0:29:29 | |
Bernie's inspiration for this ode to America came from a childhood spent dreaming of the promise land, | 0:29:29 | 0:29:36 | |
a world of wide-open spaces and saloon-bar shoot-outs. | 0:29:36 | 0:29:40 | |
GUNSHOTS | 0:29:42 | 0:29:44 | |
# I won't run | 0:29:44 | 0:29:46 | |
# I'm tired of hearing | 0:29:47 | 0:29:50 | |
# There goes a well-known gun | 0:29:52 | 0:29:57 | |
He was someone who was destined to become American. | 0:29:57 | 0:30:01 | |
Even though he lived in Owmby by Spital in Lincolnshire. | 0:30:01 | 0:30:04 | |
From the day I met him, he was obsessed with Americana, the Wild West, Marty Robbins, | 0:30:04 | 0:30:11 | |
and, to be honest, he's never changed. | 0:30:11 | 0:30:14 | |
# And it's good old country comfort in my bones | 0:30:14 | 0:30:20 | |
# Just the sweetest sound my ears have ever known | 0:30:22 | 0:30:27 | |
Bernie's lyrics were straight out of the Wild West | 0:30:28 | 0:30:31 | |
and were complimented by Elton's bluesy southern-rock style. | 0:30:31 | 0:30:35 | |
The music was so different. It was a combination... | 0:30:36 | 0:30:40 | |
He locked into that southern thing and the rock thing, the soul thing. | 0:30:40 | 0:30:47 | |
But he put his own unique take on all that music. | 0:30:47 | 0:30:52 | |
# Just the sweetest sound my ears have ever known | 0:30:52 | 0:30:57 | |
Gospel and soul and country, basically, that's my favourite kind of music. | 0:30:59 | 0:31:04 | |
American music that embraces all those three, like Elvis Presley did. | 0:31:04 | 0:31:08 | |
He came from R'n'B, gospel and country. You fuse those together | 0:31:08 | 0:31:12 | |
and you've got a pretty soulful combination. | 0:31:12 | 0:31:15 | |
# Yes, it is, country comfort | 0:31:15 | 0:31:18 | |
# In a truck that's going back home | 0:31:18 | 0:31:21 | |
# Yes, it is | 0:31:21 | 0:31:23 | |
# Country comfort in that truck that's going back home | 0:31:23 | 0:31:28 | |
If Tumbleweed Connection was their American dream, | 0:31:28 | 0:31:31 | |
the next album became a document of their new reality | 0:31:31 | 0:31:35 | |
as Elton and his band took to the road. | 0:31:35 | 0:31:37 | |
The next song is about travelling in America. | 0:31:41 | 0:31:45 | |
# Boston at last | 0:31:45 | 0:31:48 | |
# And the plane's touching down | 0:31:48 | 0:31:51 | |
# Our hostess... | 0:31:54 | 0:31:56 | |
Being on the road was wonderful. He was very well received whatever city we went to. | 0:31:56 | 0:32:02 | |
The press were really smitten with Elton John. | 0:32:02 | 0:32:05 | |
So it was a very, very happy time. | 0:32:05 | 0:32:09 | |
# It's a ten-minute ride | 0:32:09 | 0:32:12 | |
# To the Holiday Inn | 0:32:12 | 0:32:14 | |
# Boredom's a pastime that one soon acquires | 0:32:18 | 0:32:23 | |
# Where you get the stage where you're not even tired | 0:32:25 | 0:32:30 | |
We were always in the studio or on the road and it just got bigger and bigger and bigger. | 0:32:30 | 0:32:36 | |
When we were coming over and doing these tours, | 0:32:36 | 0:32:39 | |
I was always regarded as part of the band, only I just didn't perform. | 0:32:39 | 0:32:44 | |
HE LAUGHS I was just a hanger-on, man. | 0:32:44 | 0:32:47 | |
I don't know. I was sort of a groupie, I guess. | 0:32:47 | 0:32:49 | |
# Slow down, Joe | 0:32:51 | 0:32:53 | |
# I'm a rock 'n' roll man | 0:32:53 | 0:32:56 | |
It was such a whirlwind that I don't remember ever having time to breathe. | 0:33:00 | 0:33:06 | |
It was just an extraordinary time. | 0:33:06 | 0:33:08 | |
Elton became part of a scene that found him rubbing shoulders with many of his rock 'n' roll heroes. | 0:33:08 | 0:33:15 | |
You go to a party on the Sunset Strip | 0:33:15 | 0:33:17 | |
and I go into the party and it's Bob Dylan singing on the piano. | 0:33:17 | 0:33:22 | |
All the English bands were coming into town | 0:33:22 | 0:33:24 | |
so there's just energy. | 0:33:24 | 0:33:27 | |
On my second trip, Bernie and I went with Danny Hutton to meet Brian Wilson. | 0:33:27 | 0:33:31 | |
So you can imagine! We met Dylan and he said, "I really like that song Ballad Of A Well-Known Gun". | 0:33:31 | 0:33:38 | |
We were like... We couldn't hardly speak. | 0:33:38 | 0:33:40 | |
You have to realise that I was meeting, within a period of two months, | 0:33:40 | 0:33:45 | |
some of the greatest names in the world and it was joyous. | 0:33:45 | 0:33:49 | |
Ever the fan, Elton was in his element | 0:33:51 | 0:33:53 | |
and new friends also brought his first taste of the decadent rock star lifestyle. | 0:33:53 | 0:33:58 | |
I'd become friends with Danny Hutton, who was in Three Dog Night, | 0:34:00 | 0:34:03 | |
and I went up to his house in Laurel Canyon with his girlfriend June | 0:34:03 | 0:34:08 | |
and had dinner with him and Van Dyke Parts. | 0:34:08 | 0:34:12 | |
# This is the craziest party there could ever be | 0:34:12 | 0:34:15 | |
It was like a little funky Laurel Canyon house with a great vibe | 0:34:15 | 0:34:19 | |
and Elton played piano all night. | 0:34:19 | 0:34:23 | |
I left at 7:30 in the morning and I thought, | 0:34:23 | 0:34:26 | |
"I've never stayed up till 7:30 in the morning but I feel really good" | 0:34:26 | 0:34:30 | |
and I drove back to the Sunset Hyatt House in my rented car. | 0:34:30 | 0:34:33 | |
And years later, Danny said, "Well, we put cocaine in your food". | 0:34:33 | 0:34:36 | |
# Mama told me not to come | 0:34:36 | 0:34:39 | |
-HE LAUGHS -We all indulged | 0:34:40 | 0:34:43 | |
and he was just part of indulging with us. | 0:34:43 | 0:34:46 | |
I might have forgot to tell him. | 0:34:46 | 0:34:49 | |
# That ain't the way to have fun | 0:34:50 | 0:34:52 | |
It was a free-wheeling wonderful time, you know? | 0:34:52 | 0:34:58 | |
-I think it certainly didn't hurt him. -HE LAUGHS | 0:34:58 | 0:35:02 | |
He went on to be quite successful. | 0:35:02 | 0:35:06 | |
# We've moved on six miles | 0:35:06 | 0:35:10 | |
Despite Elton making new friends in high places, | 0:35:10 | 0:35:13 | |
his true companion remained by his side, | 0:35:13 | 0:35:15 | |
taking everything in as they toured the States. | 0:35:15 | 0:35:18 | |
I think Elton was a lot more ambitious than I was. | 0:35:19 | 0:35:22 | |
I was just riding along on the back of the saddle. | 0:35:22 | 0:35:27 | |
I was definitely the Tonto, you know? | 0:35:27 | 0:35:31 | |
He may have felt like the sidekick, | 0:35:31 | 0:35:33 | |
but new experiences fuelled Bernie's writing, | 0:35:33 | 0:35:36 | |
ensuring a healthy flow of lyrics for Elton to turn into songs. | 0:35:36 | 0:35:40 | |
The songwriting thing is very 50/50. | 0:35:40 | 0:35:42 | |
I mean, he's the artist, but you have to remember, he's singing my thoughts. | 0:35:42 | 0:35:47 | |
I love getting the lyrics from Bernie. I love seeing what he comes up with. | 0:35:47 | 0:35:51 | |
I love going into the room and creating something musical | 0:35:51 | 0:35:54 | |
to his imagination. I've never gotten tired of that. | 0:35:54 | 0:35:58 | |
I just sift through them. There's one here that I've done the other day called Tiny Dancer, | 0:35:58 | 0:36:03 | |
which is about Bernie's girlfriend. | 0:36:03 | 0:36:06 | |
Look at the words, "Blue jean baby, LA lady, | 0:36:06 | 0:36:09 | |
"seamstress of the band, pretty eyed, pirate smile, | 0:36:09 | 0:36:12 | |
"you'll marry a music man, ballerina..." | 0:36:12 | 0:36:14 | |
When you get to the word ballerina, you know it's not going to be fast. | 0:36:14 | 0:36:18 | |
It's got to be gentle and quite slow. | 0:36:18 | 0:36:20 | |
They were so different in terms of a songwriting partnership | 0:36:20 | 0:36:24 | |
cos they never actually sat down together. | 0:36:24 | 0:36:28 | |
Lennon and McCartney sat down around a piano or guitar | 0:36:28 | 0:36:32 | |
and worked stuff out together. | 0:36:32 | 0:36:34 | |
Extraordinary when you think about it. | 0:36:34 | 0:36:36 | |
We've been together for 43 years now, Bernie and I, | 0:36:36 | 0:36:39 | |
and still haven't written a song in the same room. | 0:36:39 | 0:36:42 | |
# Blue jean baby | 0:36:42 | 0:36:45 | |
# LA lady | 0:36:46 | 0:36:49 | |
# Seamstress for the band | 0:36:49 | 0:36:53 | |
I think there was a substance to him. He was a terrific songwriter | 0:36:56 | 0:36:59 | |
and Elton could take that song and put it together in a way that just made it seem irresistible. | 0:36:59 | 0:37:07 | |
# Ballerina | 0:37:09 | 0:37:12 | |
# You must have seen her | 0:37:12 | 0:37:14 | |
# Dancing in the sand | 0:37:16 | 0:37:19 | |
We've never had an argument over a song and that's to his credit | 0:37:22 | 0:37:25 | |
cos there must have been instances where I've written melodies to his song that didn't go. | 0:37:25 | 0:37:30 | |
I don't tread on his toes and he doesn't tread on mine. | 0:37:30 | 0:37:33 | |
And it's a matter of trust and love. The love we have for each other and a respect. | 0:37:33 | 0:37:37 | |
And if it ain't broke, don't fix it. | 0:37:37 | 0:37:41 | |
# Hold me closer, tiny dancer | 0:37:41 | 0:37:45 | |
# Count the headlights on the highway | 0:37:47 | 0:37:51 | |
# Lay me down in sheets of linen | 0:37:53 | 0:37:57 | |
# You had a busy day today | 0:37:59 | 0:38:04 | |
# Oh, oh, oh | 0:38:04 | 0:38:05 | |
Elton and Bernie had mastered the art of the rock ballad. | 0:38:05 | 0:38:08 | |
But in late 1971, there weren't many sensitive singer-songwriters on Top Of The Pops. | 0:38:08 | 0:38:14 | |
Here is the only group to have two number ones last year. | 0:38:17 | 0:38:20 | |
You saw them singing on Christmas Day and here's the other one, T-Rex and Get It On. | 0:38:20 | 0:38:24 | |
APPLAUSE | 0:38:24 | 0:38:27 | |
While Elton was across the water, | 0:38:30 | 0:38:33 | |
back in the UK, Marc Bolan had paved the way for a new kind of garish glittering glam rock. | 0:38:33 | 0:38:40 | |
# You're dirty sweet, clad in black, don't look back, I love you | 0:38:40 | 0:38:46 | |
# You're dirty sweet and you're my girl | 0:38:46 | 0:38:48 | |
And Elton had his own glam side just itching to get out. | 0:38:48 | 0:38:53 | |
# Bang a gong, get it on | 0:38:53 | 0:38:55 | |
# Wahh | 0:38:55 | 0:38:58 | |
After Tumbleweed and Madman, we went in a whole different direction | 0:38:58 | 0:39:04 | |
and suddenly overnight we went from being these American FM darlings of folk rock | 0:39:04 | 0:39:09 | |
suddenly morphed into this other character. | 0:39:09 | 0:39:13 | |
Elton basically became a popstar. | 0:39:13 | 0:39:16 | |
# And I think it's gonna be a long long time | 0:39:17 | 0:39:21 | |
# Till touchdown brings me round again to find | 0:39:21 | 0:39:24 | |
# I'm not the man they think I am at home | 0:39:24 | 0:39:27 | |
# Oh, no, no, no | 0:39:27 | 0:39:30 | |
# I'm a rocket man | 0:39:30 | 0:39:32 | |
# Rocket man, burning up the fuse up here alone | 0:39:34 | 0:39:39 | |
Rocket Man was the first big pop single. | 0:39:42 | 0:39:46 | |
Up to then I'd had Your Song | 0:39:46 | 0:39:49 | |
and Levon and Tiny Dancer weren't big hits at all. | 0:39:49 | 0:39:52 | |
So, yeah, that changed everything. | 0:39:52 | 0:39:56 | |
# Oh, no, no, no | 0:39:56 | 0:39:58 | |
# I'm a rocket man | 0:39:58 | 0:40:01 | |
He loved it. He loved it. He had money to spend. | 0:40:01 | 0:40:06 | |
You see his wardrobe started to become more embellished. | 0:40:06 | 0:40:11 | |
Oh, no, he took it all in his stride, this is what he wanted. He always wanted to be a star. | 0:40:11 | 0:40:17 | |
He went from here to here very quickly but he became very flamboyant also. | 0:40:18 | 0:40:23 | |
All of a sudden, he became this wild and crazy character. | 0:40:23 | 0:40:26 | |
I think that's what really took him to the superstar area. | 0:40:26 | 0:40:31 | |
# I remember when rock was young | 0:40:31 | 0:40:34 | |
# Me and Suzie had so much fun | 0:40:34 | 0:40:37 | |
# Holding hands and skimming stones | 0:40:37 | 0:40:40 | |
# Had an old gold Chevy and a place of my own | 0:40:40 | 0:40:43 | |
I thought he suddenly jumped out of his skin | 0:40:43 | 0:40:45 | |
and became a giant show business character. He was larger than life. | 0:40:45 | 0:40:50 | |
And some of the clothes he wore were unbelievably funny. | 0:40:50 | 0:40:55 | |
-This...is probably the most outlandish one. -HE LAUGHS | 0:40:57 | 0:41:03 | |
# La-la-la-la-la | 0:41:04 | 0:41:07 | |
I felt that I could have carte blanche to do what I want and I did. | 0:41:07 | 0:41:11 | |
I took Legs Larry Smith on tour. Larry would come and tap dance | 0:41:12 | 0:41:16 | |
wearing a crash helmet with a wedding couple on | 0:41:16 | 0:41:18 | |
and then we'd use midgets, we had a band of midgets dancing with us. We did all sorts of potty things. | 0:41:18 | 0:41:24 | |
People would come and think, "What's he going to do now?" | 0:41:24 | 0:41:27 | |
Elton was having fun. | 0:41:27 | 0:41:29 | |
The fancy dress and rock 'n' roll pastiche of Crocodile Rock | 0:41:29 | 0:41:33 | |
were a far cry from the sombre songwriter he appeared to be back in '69. | 0:41:33 | 0:41:37 | |
And it wasn't to everyone's taste. | 0:41:37 | 0:41:40 | |
I shook my head and rolled my eyes and thought... | 0:41:40 | 0:41:44 | |
I don't know if I thought maybe he'll grow out of this. He'll move on. Yeah, it was ridiculous. | 0:41:44 | 0:41:50 | |
I mean, you don't sing Your Song in a Donald Duck outfit in Central Park. | 0:41:50 | 0:41:54 | |
It's beyond awful. | 0:41:54 | 0:41:57 | |
But nobody was really going to tell him no at the time. | 0:41:57 | 0:42:00 | |
People say, "If you sing something like Your Song, you shouldn't wear this." Fuck off, why not? | 0:42:00 | 0:42:06 | |
And I think then you become a law unto yourself | 0:42:06 | 0:42:09 | |
and you say, "There's nothing I can't do or can't get away with." | 0:42:09 | 0:42:12 | |
When he took off, it was at the same time that | 0:42:18 | 0:42:22 | |
the music business as a whole was taking off. It was like a rocket. | 0:42:22 | 0:42:25 | |
Whoosh. Everything was getting bigger. | 0:42:25 | 0:42:28 | |
More and more money was being made by everybody and nothing was denied you. | 0:42:28 | 0:42:35 | |
By this time, Elton had become Elton, you know? Spend a lot. | 0:42:35 | 0:42:40 | |
So everything backstage was always palm trees and God knows what else. | 0:42:40 | 0:42:45 | |
Lavish. | 0:42:45 | 0:42:47 | |
# Hey kids, shake it loose together | 0:42:47 | 0:42:50 | |
# The spotlight's hitting something | 0:42:50 | 0:42:52 | |
# That's been known to change the weather | 0:42:52 | 0:42:55 | |
We had this one private plane called the Starship. | 0:42:55 | 0:42:58 | |
It had a sitting room with a fireplace in it | 0:42:58 | 0:43:01 | |
and it had a bar on it with an organ. | 0:43:01 | 0:43:04 | |
Elizabeth Taylor was on there one time. | 0:43:04 | 0:43:07 | |
Elton was in the back resting. | 0:43:07 | 0:43:10 | |
That's him in his bedroom in the plane. | 0:43:10 | 0:43:14 | |
You can see how big the bed is. It took the whole back of the plane. | 0:43:14 | 0:43:19 | |
And somebody started playing the organ. | 0:43:19 | 0:43:22 | |
And he shouts out, "Shut that racket up!" | 0:43:22 | 0:43:25 | |
And he came out and it was Stevie Wonder playing the organ. | 0:43:25 | 0:43:28 | |
-HE LAUGHS -On our jet. | 0:43:28 | 0:43:30 | |
It's just insane. | 0:43:31 | 0:43:34 | |
# B-B-B-Bennie and the Jets | 0:43:36 | 0:43:39 | |
If you talk about the private planes and the touring parties | 0:43:39 | 0:43:43 | |
and everybody having their own limousine and their own security, | 0:43:43 | 0:43:48 | |
yeah, we did all that, but undoubtedly at some point you're going to go, | 0:43:48 | 0:43:51 | |
"Where do you go from here? I mean, where do you go from here?" | 0:43:51 | 0:43:55 | |
"In the space of four frenetic years, he has come from total obscurity | 0:43:55 | 0:44:00 | |
"to three Rolls Royces in the garage of a house named Hercules. | 0:44:00 | 0:44:04 | |
"Four years, six million records and then they stopped counting. | 0:44:04 | 0:44:08 | |
"Four years of moving relentlessly across the Never Never Land | 0:44:08 | 0:44:11 | |
"of sudden wealth, instant failure | 0:44:11 | 0:44:14 | |
"on a train that never stops except to throw people off." | 0:44:14 | 0:44:17 | |
At the height of his powers, every night was Saturday night for Elton | 0:44:21 | 0:44:25 | |
and there was no let up from the relentless live shows. | 0:44:25 | 0:44:29 | |
Right, I want all you to sing along with me. Come on. | 0:44:31 | 0:44:34 | |
# Saturday, Saturday, Saturday, Saturday | 0:44:34 | 0:44:38 | |
Problems do come later on when you've had a bit of success for a long while | 0:44:39 | 0:44:43 | |
and then all of a sudden you get used and you get tired, because it's a bit of a treadmill. | 0:44:43 | 0:44:48 | |
I want you to sing really loudly, 80,000 of you, | 0:44:48 | 0:44:52 | |
and we'll make as much noise as we can on stage. Come on, now. | 0:44:52 | 0:44:55 | |
After four. One, two, three... | 0:44:55 | 0:44:58 | |
CROWD: # Saturday, Saturday | 0:44:58 | 0:45:00 | |
There was a price. The price, although I had a house and I bought art, I learnt all about art, | 0:45:00 | 0:45:08 | |
God knows when I slept, but it didn't take a toll at all | 0:45:08 | 0:45:11 | |
until I started maybe dabbling with drugs. | 0:45:11 | 0:45:14 | |
And I didn't really start dabbling with drugs seriously until '73, '74. | 0:45:14 | 0:45:18 | |
The cocaine crept in. | 0:45:19 | 0:45:22 | |
I was quite surprised at how quickly it came to be a part of the landscape. | 0:45:22 | 0:45:28 | |
Whoo! | 0:45:32 | 0:45:34 | |
When you become that big that fast, | 0:45:34 | 0:45:37 | |
you stop listening to criticism and you stop listening to the people | 0:45:37 | 0:45:41 | |
who may have been around you at the beginning who could tell it to you straight. | 0:45:41 | 0:45:45 | |
And that's when you start to lose your friends. | 0:45:45 | 0:45:47 | |
In April 1975, Elton sacked the bassist | 0:45:50 | 0:45:54 | |
and drummer who had backed him since the beginning. | 0:45:54 | 0:45:57 | |
"It was a rage of egomania. Elton has come to believe his press clippings. | 0:46:00 | 0:46:04 | |
"He's convinced he's the most powerful... | 0:46:04 | 0:46:07 | |
"..and almighty...performer in the history of rock. | 0:46:07 | 0:46:11 | |
"He feels he doesn't need anybody." | 0:46:11 | 0:46:13 | |
CROWD: We want Elton! We want Elton! | 0:46:15 | 0:46:21 | |
A few months later, complete with new band, | 0:46:21 | 0:46:25 | |
Elton returned to play the city that made him a star | 0:46:25 | 0:46:28 | |
and received the full Hollywood welcome. | 0:46:28 | 0:46:30 | |
I now want to present a proclamation | 0:46:30 | 0:46:34 | |
which declares this week Elton John Week! | 0:46:34 | 0:46:38 | |
The venue he'd sold out for two nights that week | 0:46:38 | 0:46:41 | |
was a far cry from the cosy Troubadour Club he'd played five years earlier. | 0:46:41 | 0:46:46 | |
John Reid told me, "I've got to get over to LA to shoot this gig | 0:46:51 | 0:46:55 | |
"cos it's the biggest outdoor gig ever." | 0:46:55 | 0:46:59 | |
The first time they'd reopened Dodger Stadium | 0:46:59 | 0:47:04 | |
to be used for rock concerts since 1966 when they'd shut it down | 0:47:04 | 0:47:09 | |
at a Beatles concert. So this is a historic event for Los Angeles. | 0:47:09 | 0:47:14 | |
I mean, everybody you can think of just showed up. | 0:47:14 | 0:47:16 | |
Cary Grant's walking around backstage with his grandson. | 0:47:16 | 0:47:20 | |
-It was like, "Whoa!" -HE LAUGHS | 0:47:20 | 0:47:23 | |
Every celebrity under the sun was there. It was just off the chart. | 0:47:23 | 0:47:27 | |
There was a carnival atmosphere in the Elton camp. | 0:47:28 | 0:47:31 | |
The star himself was putting on a brave face | 0:47:31 | 0:47:34 | |
but underneath, his personal life and particularly his relationship | 0:47:34 | 0:47:38 | |
with his manager and partner John Reid was in turmoil. | 0:47:38 | 0:47:41 | |
It's very hard to maintain a lifestyle when you travel so much, | 0:47:41 | 0:47:45 | |
where you're away from people so much. | 0:47:45 | 0:47:48 | |
You take hostages, you take them on the road with you | 0:47:48 | 0:47:50 | |
and then they hate you and it all ends in tears. | 0:47:50 | 0:47:54 | |
And any relationship that you bring drugs and drink into, | 0:47:54 | 0:47:57 | |
drugs especially, is doomed to failure. | 0:47:57 | 0:48:01 | |
There was media coming around and wanting to do interviews with him and cameras and fans lined up | 0:48:05 | 0:48:10 | |
and there was a trailer and he went there by himself | 0:48:10 | 0:48:14 | |
and sat in that trailer rather than talk to people | 0:48:14 | 0:48:17 | |
and shake hands with people and that stuff. | 0:48:17 | 0:48:19 | |
I thought he was handling it all really well, but beneath that, | 0:48:20 | 0:48:24 | |
he didn't realise the darker side of what was happening. | 0:48:24 | 0:48:27 | |
You run away with this thing and enjoy life. | 0:48:31 | 0:48:34 | |
I don't stop touring or making records. | 0:48:34 | 0:48:37 | |
But then, at the end of the day, what have you got in your life? You go home to an empty house. | 0:48:37 | 0:48:41 | |
You go home to your empty house so you get a lot of people down and you do drugs. | 0:48:41 | 0:48:46 | |
Is that fun? Not after a while, it isn't, no. | 0:48:46 | 0:48:50 | |
The night before the show, as his family and friends were gathered at his LA home, | 0:48:52 | 0:48:56 | |
Elton attempted suicide, taking an overdose of pills. | 0:48:56 | 0:49:01 | |
We didn't know. We were up all night... I mean, everybody... | 0:49:06 | 0:49:10 | |
It was a very emotional time. And his mum and his grandma were over there at the time, | 0:49:10 | 0:49:15 | |
he'd brought them over to see this gig. | 0:49:15 | 0:49:19 | |
That was a touch and go time. | 0:49:19 | 0:49:21 | |
He never showed it on stage. | 0:49:26 | 0:49:29 | |
You know that expression "the show must go on"? He did it. | 0:49:29 | 0:49:33 | |
He got on stage, you would never have known he was depressed or anything. | 0:49:33 | 0:49:37 | |
It was a wonderful performance. | 0:49:38 | 0:49:41 | |
-CHEERING AND APPLAUSE -How are you, all right? | 0:49:41 | 0:49:44 | |
# What do you think you'll do then | 0:49:44 | 0:49:47 | |
# I bet they shoot down your plane | 0:49:47 | 0:49:50 | |
# It'll take you a couple of tequila sunrises | 0:49:50 | 0:49:55 | |
# To set you on your feet again | 0:49:55 | 0:49:58 | |
# You know you can't hold me forever | 0:49:58 | 0:50:02 | |
# I didn't sign up with you | 0:50:02 | 0:50:05 | |
# I'm not a present for your friends to open | 0:50:06 | 0:50:10 | |
# This boy's too young to be singing | 0:50:10 | 0:50:14 | |
# The blues | 0:50:14 | 0:50:18 | |
# Ah-ah-ah-ah-ah | 0:50:18 | 0:50:22 | |
The parallel highs and lows of 1975 marked the end of an era for the 28-year-old Elton. | 0:50:22 | 0:50:28 | |
In just five years, he'd gone from shy and retiring Reg | 0:50:28 | 0:50:32 | |
to the Rocket Man, the biggest popstar in the world. | 0:50:32 | 0:50:36 | |
Elton would never quite match the creative streak of those first five years | 0:50:38 | 0:50:42 | |
but he and Bernie could still write a hit. | 0:50:42 | 0:50:45 | |
# Don't go breaking my heart | 0:50:45 | 0:50:47 | |
# I couldn't if I tried | 0:50:49 | 0:50:52 | |
1976 brought them their first ever UK number one. | 0:50:52 | 0:50:56 | |
# Baby, you're not that kind | 0:50:56 | 0:50:59 | |
I'm certainly proud of our back catalogue. We made a lot of crap, too. | 0:51:01 | 0:51:05 | |
You know, there are things that I find that are sort of fluff in our can, | 0:51:05 | 0:51:10 | |
things like Don't Go Breaking My Heart. | 0:51:10 | 0:51:12 | |
But they all served a purpose at the time. | 0:51:12 | 0:51:15 | |
But do I sit around listening to them? No. | 0:51:15 | 0:51:18 | |
# Whoo-hoo | 0:51:18 | 0:51:19 | |
# Nobody knows it | 0:51:20 | 0:51:23 | |
I think, at that time, he did lose sight of his own talent and his own energy, | 0:51:23 | 0:51:27 | |
cos the energy was fuelled by drugs and it's a different energy. | 0:51:27 | 0:51:32 | |
It's not your energy any more, it's substance energy. | 0:51:32 | 0:51:36 | |
I took a lot of coke and I still worked. I didn't stay at home taking coke. | 0:51:42 | 0:51:46 | |
I still went out there and played and made records. | 0:51:46 | 0:51:50 | |
I wasn't on drugs all the time but there were certainly records I made where I was on drugs. | 0:51:50 | 0:51:54 | |
I wrote on drugs. And you think what you write is much better than it is. | 0:51:54 | 0:51:58 | |
# Well, look at me, I'm coming back again | 0:51:58 | 0:52:00 | |
# I got a taste of love... | 0:52:00 | 0:52:02 | |
The hits were more occasional now but the go-getting 80s suited Elton's new image as a survivor. | 0:52:02 | 0:52:08 | |
# Don't you know I'm still standing | 0:52:08 | 0:52:10 | |
In 1984, Elton took his team, Watford FC, to the cup final. | 0:52:10 | 0:52:15 | |
And surprised many by getting married to Renata Blauel, | 0:52:15 | 0:52:19 | |
a German sound engineer he'd met the previous year. | 0:52:19 | 0:52:23 | |
Having come out as bisexual in the 70s, | 0:52:23 | 0:52:26 | |
Elton was no stranger to speculation about his sexuality | 0:52:26 | 0:52:29 | |
and by 1987 he became the tabloids' number one target. | 0:52:29 | 0:52:34 | |
I mean, he went through a lot of upheavals with the tabloids. | 0:52:34 | 0:52:38 | |
It got very unpleasant. | 0:52:39 | 0:52:42 | |
Elton sued The Sun and cleared his name | 0:52:45 | 0:52:47 | |
but had yet to win the battle with his own demons. | 0:52:47 | 0:52:50 | |
You could see the road that he was on and I could see it. | 0:52:52 | 0:52:56 | |
His mood swings were pretty drastic. | 0:52:56 | 0:53:00 | |
He got really... He went very Judy Garland on us. | 0:53:00 | 0:53:05 | |
# Goodbye Norma Jean | 0:53:07 | 0:53:10 | |
# Though I never knew you at all | 0:53:10 | 0:53:13 | |
# You had the grace to hold yourself | 0:53:13 | 0:53:16 | |
I was very confused, pretty down on drugs | 0:53:17 | 0:53:21 | |
and you can't think straight when you're doing that amount of drugs. | 0:53:21 | 0:53:24 | |
There's got to be a balance. When I became an addict and an alcoholic and went to rehab, blah, blah, blah, | 0:53:24 | 0:53:30 | |
one of the things that was pointed out was that my whole life was Elton John. There was no other person. | 0:53:30 | 0:53:35 | |
# It seems to me you lived your life | 0:53:35 | 0:53:38 | |
# Like a candle in the wind | 0:53:38 | 0:53:42 | |
# Never knowing who to cling to when the rain set in | 0:53:42 | 0:53:47 | |
When I met David three years after I got sober, when I was 46, | 0:53:47 | 0:53:51 | |
I was ready to have a relationship. I wasn't looking for it but I was ready to have a relationship. | 0:53:51 | 0:53:57 | |
And I was grown up then. I didn't grow up till I was 43. | 0:53:57 | 0:54:01 | |
Sober and settled with his new partner, | 0:54:01 | 0:54:03 | |
Elton explored new avenues as a musician | 0:54:03 | 0:54:07 | |
and ways to put his celebrity to good use. | 0:54:07 | 0:54:09 | |
"Whether selling off part of his extravagant wardrobe | 0:54:09 | 0:54:13 | |
"or singing before invited and extremely rich guests, | 0:54:13 | 0:54:16 | |
"Sir Elton's Aids Foundation has raise £25 million since it was set up a decade ago." | 0:54:16 | 0:54:23 | |
Elton's dramatic journey, played out in the eye of the British public, | 0:54:23 | 0:54:27 | |
left him strangely qualified for the role of the Nation's agony aunt in 1997. | 0:54:27 | 0:54:32 | |
# Goodbye England's rose | 0:54:32 | 0:54:35 | |
# May you ever grow in our hearts | 0:54:35 | 0:54:38 | |
# You were the grace that placed itself | 0:54:38 | 0:54:41 | |
Candle In The Wind seemed the perfect epitaph for Diana. | 0:54:41 | 0:54:44 | |
But written in 1973 about Marilyn Monroe, | 0:54:44 | 0:54:48 | |
an icon hounded by the press, a life cut short in its prime, | 0:54:48 | 0:54:52 | |
its story could easily also have been Elton's. | 0:54:52 | 0:54:55 | |
Instead, as the soundtrack to England's tears, | 0:54:55 | 0:54:58 | |
it completed his redemption. Sir Elton, a national treasure. | 0:54:58 | 0:55:03 | |
# And it seems to me you lived your life | 0:55:03 | 0:55:07 | |
# Like a candle in the wind | 0:55:07 | 0:55:09 | |
# Never knowing who to cling to | 0:55:10 | 0:55:14 | |
# When the rain set in | 0:55:14 | 0:55:16 | |
# And I would've liked to have known you | 0:55:18 | 0:55:21 | |
# But I was just a kid | 0:55:21 | 0:55:24 | |
# Your candle burned out long before | 0:55:24 | 0:55:28 | |
# Your legend ever did | 0:55:28 | 0:55:30 | |
I've made a lot of records in my time and the last few records I've made have all been really good. | 0:55:41 | 0:55:47 | |
But they've always been with the same band, my band. So they've sounded fairly similar. | 0:55:47 | 0:55:52 | |
And I thought, "I've got to approach making records differently. | 0:55:52 | 0:55:55 | |
"I've got to make a record when I was to make a record and not just for the sake of it | 0:55:55 | 0:55:59 | |
"and when I make a record, I want it to sound different. | 0:55:59 | 0:56:02 | |
# I've been so many places | 0:56:02 | 0:56:05 | |
# In my life and times | 0:56:05 | 0:56:08 | |
Last year, a voice from his past inspired Elton's new musical direction. | 0:56:08 | 0:56:14 | |
David's playing Leon Russell on the iPod and I'm getting ready for lunch | 0:56:14 | 0:56:18 | |
and he came in and I'm crying, sobbing, and he said, "What on earth is the matter with you?" | 0:56:18 | 0:56:23 | |
and I said, "This just takes me back to the most wonderful period of my life." | 0:56:23 | 0:56:27 | |
I don't know whether I suddenly had a touch of mortality ringing in my ears, I don't know. | 0:56:27 | 0:56:33 | |
But it brought back so many great memories and I said, | 0:56:33 | 0:56:35 | |
"To go forward in my career as a recording artist, I've got to go back and revisit what I did." | 0:56:35 | 0:56:40 | |
Having lost contact soon after they first met, Elton tracked down Leon to make him an offer. | 0:56:40 | 0:56:45 | |
And he called up and said, "Let's just do a duet album together | 0:56:45 | 0:56:50 | |
"and write some songs for that". | 0:56:50 | 0:56:52 | |
And I said, "What kind of songs do you want me to write?" | 0:56:52 | 0:56:55 | |
-He said, "Up-tempo, baby!" -HE LAUGHS | 0:56:55 | 0:56:57 | |
# If you're looking for the glory | 0:56:57 | 0:57:00 | |
Elton drafted in the first-choice producer for any band in search of an authentic American sound. | 0:57:00 | 0:57:06 | |
I thought, well, we'll probably do something like Tumbleweed Connection | 0:57:06 | 0:57:10 | |
because that's something I can relate to and he can relate to | 0:57:10 | 0:57:14 | |
and Bernie Taupin can relate to and Leon can relate to, | 0:57:14 | 0:57:17 | |
it's something that was a touchstone for all of us, | 0:57:17 | 0:57:20 | |
but it ended up being a flat-out gospel record. | 0:57:20 | 0:57:24 | |
I went out to the piano and started writing a song | 0:57:24 | 0:57:27 | |
and Leon came out and started playing with me. That was the first time we played together. | 0:57:27 | 0:57:33 | |
And everyone's face lit up and we knew this was going to work. The combination of the two pianos | 0:57:33 | 0:57:38 | |
and his voice and mine, it was fantastic. | 0:57:38 | 0:57:41 | |
# It's a constant struggle getting up... | 0:57:41 | 0:57:45 | |
And what of Elton's search for his roots, for his own true spirit as a musician | 0:57:45 | 0:57:49 | |
beyond his celebrity status? | 0:57:49 | 0:57:51 | |
He wanted to reconnect with Leon | 0:57:53 | 0:57:56 | |
and I think he wanted to reconnect with that part of himself. | 0:57:56 | 0:57:59 | |
I think this record's probably closer to him than anything he's ever done. | 0:57:59 | 0:58:04 | |
He's not putting on any fine jackets or any flashy glasses, you know? | 0:58:04 | 0:58:08 | |
It's stripping it of all the trinkets and trappings | 0:58:08 | 0:58:14 | |
that have tampered with our musical heritage in the past | 0:58:14 | 0:58:19 | |
and I think he's come full circle. | 0:58:19 | 0:58:22 | |
Hallelujah. | 0:58:22 | 0:58:24 | |
In reuniting with Leon Russell, | 0:58:24 | 0:58:26 | |
Elton has also reached out to the man he was when they first met in 1970. | 0:58:26 | 0:58:31 | |
Before the hits, before the money, the drugs and the fame. | 0:58:31 | 0:58:35 | |
And who knows where music will take him next? | 0:58:35 | 0:58:38 | |
-HE LAUGHS -I really like that. -Amen and Amen. | 0:58:42 | 0:58:46 | |
What keeps me going is also the unknown. | 0:58:46 | 0:58:49 | |
The unknown that comes into your life that changes your life. | 0:58:49 | 0:58:53 | |
Like the Liberty Records thing with Bernie's lyrics, | 0:58:53 | 0:58:56 | |
like going to the Troubadour, like David putting Leon on his iPod. | 0:58:56 | 0:59:00 | |
The wonderful little surprises of life. There's always something great round the corner. | 0:59:00 | 0:59:05 | |
And without music, my life would be nothing. It's given me everything in my life. | 0:59:05 | 0:59:09 | |
It's nearly taken away everything. But it's given me everything. | 0:59:09 | 0:59:12 | |
# Beyond the yellow brick road | 0:59:12 | 0:59:17 | |
# Ah-ah-ah-ah-ah | 0:59:18 | 0:59:22 | |
Subtitles by Red Bee Media Ltd | 0:59:22 | 0:59:26 | |
E-mail [email protected] | 0:59:26 | 0:59:29 |