When I first saw the regular edition artwork for Erasure's new album The Violet Flame, which is due out in a few weeks, I thought they'd finally jumped the shark for good in terms of cover art. But it's amazing what a change in color scheme can do … the black and gold motif of the limited edition box transforms the combination of skeleton and vintage English wallpaper into something rather stunning. I'm looking forward to one of those arriving in the mail with its exclusive disc of the entire album remixed and other goodies.
I was really excited to hear that the duo worked with producer Richard X on this one. Although first single "Elevation" is a rather subtle number that doesn't stir a great deal of excitement, my feeling is this album has got to be better than its predecessor, Tomorrow's World, which was a slight and disappointing effort after such a long wait from the release of Light at the End of the World.
Erasure is doing a Pledge Music campaign for The Violet Flame, but it's been disappointing in terms of extras, with little more than a download of the album art being offered to pledgers.
[Five months later, I've managed to finish my thoughts on seeing Elton John in concert again … ]
It was a weeknight and a work day, and I really wasn't feeling up for it. We arrived to the packed venue later than we should have and eased into our seats barely 15 minutes before Elton John took the stage. What followed was an Elton '70s fest, as you'd expect with this tour focusing on the anniversary of Goodbye Yellow Brick Road. Although the '70s is not my forte, I was surprised by how many of the songs I couldn't identify. I was born in the '70s but grew up in the '80s, so I'm drawn more to Elton's later body of work, which barely gets a tip of the hat in the legend's current tour. I'd rather hear "I Don't Wanna Go on With You Like That" or "This Train Don't Stop There Anymore" than "Mona Lisas and Mad Hatters" — so sue me. The highlight for me was his defiant early '80s anthem "I'm Still Standing." The only thing that would have been better would have been Elton breaking out "Too Low for Zero" with an extended keyboard solo in that wonderfully synthy bridge.
The songs:
Funeral for a Friend / Love Lies Bleeding // Had no idea what this was, but the lengthy instrumental bit made for a nice moody opening.
Bennie and the Jets
Candle in the Wind // You’d think Elton and piano alone on this one, but the band joined in.
Grey Seal
Levon // My first real exposure to this song was when Bon Jovi massacred it on the 1991 Two Rooms tribute, and thus I can’t muster much enthusiasm for it.
Tiny Dancer
Holiday Inn // John talked about this one being inspired by touring small towns that all looked rather the same.
Mona Lisas and Mad Hatters
Believe // One of only two nods to the 90s. Certainly a better choice than those Lion King songs.
Philadelphia Freedom
Roy Rogers
Goodbye Yellow Brick Road // Inspired me to put this song in my current playlist, cause this boy's too young to sing the bluuuuuuuueeeees.
Rocket Man
Hey Ahab
I Guess That’s Why They Call It the Blues // Without the harmonica, sadly, but glad it made the set.
The One // This was the single instance when the band left the stage, putting the focus solely on John and the piano.
Someone Saved My Life Tonight
Sad Songs (Say So Much) // An 80s gem that perked me up.
All the Girls Love Alice
Home Again // The only nod to anything post-2000.
Don’t Let the Sun Go Down On Me // Yep, I learned this one via the George Michael duet.
I'm Still Standing
The Bitch Is Back
Your Sister Can't Twist (But She Can Rock 'n Roll)
Saturday Night's All Right for Fighting
ENCORES
Your Song
Crocodile Rock // What, no "Healing Hands"?
