Roger Cook, Background Vocalist, AssociatedPerformer - Lesley Duncan, Background Vocalist, AssociatedPerformer - Terry Steele, Background Vocalist, AssociatedPerformer - Paul Buckmaster, Conductor, Recording Arranger, AssociatedPerformer - Robin Geoffrey Cable, Engineer, StudioPersonnel - Bernie Taupin, Author - Elton John, Composer, Piano, Vocals, MainArtist, AssociatedPerformer - Davey Johnstone, Guitar, AssociatedPerformer - Gus Dudgeon, Producer - Nigel Olsson, Background Vocalist, AssociatedPerformer - Liza Strike, Background Vocalist, AssociatedPerformer - Dee Murray, Background Vocalist, AssociatedPerformer - Caleb Quaye, Electric Guitar, AssociatedPerformer - Roger Pope, Drums, AssociatedPerformer - BJ Cole, Steel Guitar, AssociatedPerformer - Tony Burrows, Background Vocalist, AssociatedPerformer - David Glover, Bass Guitar, AssociatedPerformer - Barry St. Producer Gus Dudgeon preferred to work with studio musicians and this is the last John record not to feature band members Nigel Olsen (drums) and Dee Murray (bass), though guitarist Davey Johnstone (who still plays with John today) appears on several tracks including playing mandolin and sitar on "Holiday Inn." Ambitious and oddly dark, Madman is the preface for all the glorious pop music to come. State Prison." It is interesting to hear the gusto that John's road band brings to this material. Madman is less essential than Honky Château or Goodbye Yellow Brick Road because of low points like the lesser melody of "Holiday Inn," the overproduced massed voices of "All The Nasties," or the impenetrable lyrics of "Rotten Peaches," which seem to tell the story of picking "devil fruit" in a "U.S. And in most other hands, a song like "Indian Sunset," with its overserious and occasionally embarrassing lyrics, could come off as a hackneyed and naively racist tribute to Native Americans, but is partially rescued by John's impassioned singing. But beyond those two tracks, this may be John's moodiest album thanks to darker songs like the title cut with its complex and masterful arrangement, ARP synthesizer, and some of Taupin's most obscure phrases, and the gloomy lament "Goodbye," which closes the album. On the surface there are the obvious, irrepressible hits "Levon" and "Tiny Dancer" that are polished to a high gloss, and like the rest of the album, feature Paul Buckmaster's string arrangements (sometimes to a detriment). But as John/Taupin efforts go, the highly produced and manicured Madman is also a tale of two records. The pair's trajectory from this point shot skyward into considerable wealth and ever-expanding notoriety. After the tentative first step of Empty Sky, the muscular songwriting strength of Elton John, the countrified experimentalism of Tumbleweed Connection and the live energy bursting through 17-11-70, Madman Across The Water, now reissued with Bob Ludwig's highly detailed yet full-bodied remastering, is the first album in what would become an amazing four-year run of varied, resourceful, and artfully brilliant collaborations between John and Bernie Taupin. Buy the album Starting at $8.79Įlton John before his mid-'70s cloudburst of success is a fascinating aural adventure.
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