There is something so genuine and authentic about Elton John’s performances surrounding his first commercially released live recording, 17-11-70 (Uni, 1971). As an immediate side note, do not seek this commercially available release. Instead, locate 17-11-70 Complete (Bootleg, 1971). This is the early Elton John, still firmly under the spell of Robbie Robertson and The Band, producing honest, organic music of agrarian Americana. This recording is of John and his trio with bassist the late Dee Murray and drummer Nigel Olsen (before guitarist and musical director Davey Johnstone’s arrival on Madman Across the Water (Uni, 1971)), whose background vocals recall the “high lonesome” of American Bluegrass, an approach employed by Mick Jagger and Keith Richards a year later on Exile On Main St. (Rolling Stones Records, 1972). Ragged and right, this was exciting music full of invention and energy.
Recently, several dubious record labels released whole discographies of radio broadcast recordings under somewhat suspicious circumstances. These include releases by Black Sabbath, Neil Young, Pink Floyd, and Tom Petty. All of this music has been available as bootlegs for many years. Now, brought together, these releases make for interesting, often superior performances to the commercially available recordings. Elton John’s contribution, The Broadcast Collection 1968-1988, provides performances of John and band in their salad days, young, full of energy, ready to establish themselves.
This collection includes performances at the BBC, The Fillmore West, and two shows in Tokyo, one of which is as part of Eric Clapton’s 25th Anniversary Tour. The popular series, Live AT BBC, features the BBC performances. The most notable performances being the rarely captured “The Greatest Discovery.” John is playing with a band larger than his trio of the period, female background singers augmenting Murray and Olsen, and various other musicians (particularly Skaila Kanga on “Sixty Years On”). Also included on CD-1 are undated performances from 1968 to 1970. Of greatest interest are “Lady Samantha” (unreleased, recorded during John’s Empty Sky (MCA, 1969) sessions and previously recorded by Three Dog Night for their album, Suitable For Framing (Dunhill Records, 1969)) and“Sails” (from Empty Sky). The fidelity is fair and the performances are all lively.
An appearance at San Francisco’s Fillmore West occupies CD-2. The concert took place on November 12, 1970, five days before John’s appearance at A&R Recording Studios, New York City, that became 17-11-70. It is a relaxed show where John replaces the lengthy rock and roll medley folded into 17-11-70’s “Burn Down The Mission” with “Shotgun,” Give Peace A Chance,” and “I Want To Take You Higher.” Dee Murray’s bass is pushed way out front where it thunders. Murray and Olsen’s background vocals are superb in all their ragged glory. “Country Comfort” and “Border Song” are standouts.
An October 11, 1971 Tokyo show make up CDs -3 and -4. Madman Across
The Water looms large in this concert, slated to be released barely later on November 5, 1971. Characteristic of John from the period, he begins solo with “It’s Me That You Need” and “Your Song.” John continues with the real treat of “Rock Me When He’s Gone” a song that did not make the Madman original release. John remains solo, continuing with a full-throated early survey of Madman with “Rotten Peaches” and “Indian Sunset.” Sprinkled among the new album introduction are exceptional performances of “Come Down In Time” and Skyline Pigeon." Then John brings in Murray and Olsen for a solidly rocking “Ballad of a Well Known Gun” the opener from Tumbleweed Connection (UNI, 1970) followed with “Friends,” “The King Must Die,” and Madman’s “Holiday Inn.” Murray and Olsen’s background vocals surpass that on 17-11-70.
The second half of the concert, captured on CD-4, excellent, with “Country Comfort” and “Border Song” bettering their versions on 17-11-70. “Honky Tonk Women” is brought off with great style. “Madman Across the Water” reveals John at his most stripped down while retaining his rhythm section. Timing in at greater than 11 minutes it is a revelation. A masterful performance of a masterful song thought to be one progenitor of progressive rock — thrilling. “Amoreena” thunders into a spectacular “Take Me to the Pilot” and its transformation into “My Baby Left Me” and “Whole Lotta Shakin’ Goin’ On.” Doubtless, much more of the music from this period is available as unlicensed releases worthy of hearing.
The one-off of this set is John’s participation in Eric Clapton’s 1988 celebration of the guitarist’s 25th anniversary tour. John performs songs for which he was later well known, “Candle In The Wind,” “I Guess That’s Why They Call it the Blues,” and “I’m Still Standing.” The sonics are perfect for revisiting “Daniel.” This is very much after Elton John became ELTON JOHN, where his music is no less relevant but lacking in that organic element present in his early recordings. Eric Clapton and Mark Knofler contribute their best know songs, spirited performances of “Cocaine,” “Layla,” “Solid Rock,” and “Sunshine of Your Love.” John’s encore piece was a commanding performance of “Saturday Night’s Alright for Fighting.” This is a convenient release of essential music from an important period in Elton John’s career.