Page 72 - 2022-08-01 Sound & Vision

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ELTON JOHN
MADMAN ACROSS THE WATER –
50TH ANNIVERSARY EDITION
Elton John could do no wrong as
the calendar came to the close of
1971. Madman Across the Water, his
third album in that calendar year
alone, came out in November, and
it was considered to be the best
entry in his Trident Studios
orchestral trilogy, featuring
production by Gus Dudgeon and
arrangements by Paul Buckmaster.
(The previous two releases in said
trilogy were April 1970’s self-titled
Elton John and October 1970’s
Tumbleweed Connection.)
Madman is the first of what
surely will be many a 50th anniver- moving forward. (Don’t let me down,
sary collection to be culled from the
Elton John canon, and it’s a great
starting point. As is the case with
most historical releases these days,
Madman is available in a variety
of options—1LP, 2CD, 4LP, and
3CD/1BD. The copious bonus mate-
rial includes ou akes, piano demos,
and of-era live performances. Since
this collection was likely contracted
before supply-chain issues delayed
box set releases in recent years, a
Dolby Atmos mix probably wasn’t on
the table—a shame, really, since the
Atmos mix of the Madman opener
“Tiny Dancer” on Apple Music (via
Elton’s updated Diamonds compila-
tion) takes full advantage of the
height channels.
Nonetheless, completists will
likely want to add at least half of
these release choices to their
shelves (perhaps even three). Both
the 3CD/1BD and the 180-gram 4LP
sets are worthwhile acquisitions for
different reasons. The 3CD/1BD’s
[
[
72 August September 2022
1
3
right-opening, 9 / 2 x 1 / 8 x 10-inch
packaging may give you brief pause,
as its shape is markedly different
1
1
than Elton’s rectangular, 9 / 2 x 1 / 2
1
x 12 / 4 -inch career-spanning Jewel
Box 8CD set released in November
2020. I’m going to give the Madman
cube a slight pass, however, if only
because a) it mirrors the size of April
2021’s 6CD/2BD Apple/UMG box
for John Lennon’s December 1970
solo masterpiece Plastic Ono Band,
and b) my gut tells me this cube
will become the standard shape for
historical multidisc Elton box sets
1
1
gut o’ mine.) Since the 12 / 2 x 1 / 2 x
1
12 / 2 -inch 4LP vinyl box conforms to
the typical size and depth of modern
multi-LP collections, Universal 3 CD/1 BD (OR 4LP) mance and how his piano playing
(parent of UMC/UMG/UMe) Label: Rocket/EMI/UMC on the white keys alone evoke all the
probably didn’t want consumers Audio Format: 16-bit/44.1kHz (CD); drama of the core album’s finished-
to confuse the divergent Madman 24-bit/96kHz PCM Stereo, 24-bit/96kHz DTS-HD track equivalent. Meanwhile, the
analog/digital options. Master Audio HD 5.1 (Blu-ray) 10-minute jazz-trio exploration of
As extras go, the 104-page Number of Tracks: 56 (34 on 3 CDs, 22 on 1 BD) the title track is riveting, especially
hardback book in the CD/BD set Length: 4:43:16 (3:02:56 on 3 CDs; 1:40:20 during the intuitive middle-section
(the LP set contains a 40-page on 1 BD) interplay amongst Elton, Olsson,
saddle-stitched equivalent) is chock Producers: Gus Dudgeon (original album, bonus and Murray.
studio and live material)
full of deep essayist data, recording/ During the joint Elton John/
performing timelines, and in-studio Engineers: Robin Geoffrey Cable (original Bernie Taupin interview with The Old
album), Phil Ramone (one radio broadcast
and tape-box photos galore. As to Grey Whistle Test presenter Richard
bonus track), Ken Scott (remixes), Sean Magee
the Madman sonics, truth is, vinyl is (box set mastering), Greg Penny (surround Williams from December 7, 1971,
the be er way to listen to the core mixes) Elton references looking forward
album and the bonus material—in to working with his newly anointed
PERFORMANCES
stereo, that is. The arrangements of guitarist. That guitarist happened
SOUND
tracks like “Indian Sunset,” “Holiday to be Davey Johnstone, and the
Inn,” and “Goodbye” breathe much 6:44 version that is Track 5, but the ensuing LP would be May 1972’s
be er on wax than they do in the 8:50 Ronson version is quite revela- Honky Château, Elton’s first of seven
digital stereo realm. tory in surround. Ronson’s electric consecutive No. 1 U.S. albums.
That said, Greg Penny’s 5.1 mix guitar sneers and snarls mostly Here’s hoping Château is the next
of Madman on Blu-ray takes his toward the right quadrants, playing entry in this anniversary series to get
original surround pale e to newer off Buckmaster’s intensely dramatic the big box treatment—replete with
heights only hinted at on the mix he orchestral swells. Listen for how a full-album Atmos mix from Penny,
did on the 2004 SACD. The linchpin Penny turns Elton’s long-held “ohhh” of course.
here is the alternate take of the title a er the word “water” into a literal “For me, it is the most adven-
track, subtitled “Original Version all-channel echo-siren. turous of the three,” Elton writes of
Feat. Mick Ronson” and presented As for the BD’s video content, Madman in the liner notes, refer-
on the BD as the very first cut ahead the Sounds for Saturday portion, encing its place in the orchestral
of “Tiny Dancer” in the running broadcast on April 29, 1972, mainly trilogy—and he’s spot-on. This 50th
order. (It was previously released on showcases Elton singing solo at the anniversary Madman edition gives
October 1992’s Rare Masters and piano, occasionally joined by his two you more than just a glimpse at the
various la er-day deluxe editions bandmates at the time, drummer ascending star that is Elton John,
of the aforementioned Tumbleweed Nigel Olsson and bassist Dee an artist on the cusp of taking off Photo courtesy UMe
Connection.) You’re welcome to Murray. The gist of “Tiny Dancer” is like the rocket man he would soon
compare it to the original album’s boiled down to Elton’s vocal perfor- enough become. O MIKE METTLER
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