Elton John & Bernie Taupin are probably the longest-lasting songwriting duo in history, beating out Rodgers & Hammerstein or even Gilbert & Sullivan, yet definitely on a level of those legends. It's hard to believe the two have been working together for well over 35 years by now & have seen more hits than a birthday pinata. But while some people think "Your Song" was what started Elton & Bernie on their way, it was just their first major success. Before that, they had released an album that was an ambitious debut, but it was clear greater things were in store for them. That album was 1969's EMPTY SKY.

At the time, Elton & Bernie (I mention both at the same time because while Elton may be the one out front, Bernie's songwriting is just as, if not more, important as Elton's showmanship) were barely out of their teens, so for an album like EMPTY SKY to debut with, you'd think the two had been around for a while. But also because of their youth, it's fair to call the album a little too didactic for its own good & sure enough, they can stretch themselves thin on EMPTY SKY. But when they succeed, it's fantastic.

The title track is one of those times, with a Stones-sounding rock tune that would prove to be Elton's stock in trade during the 1970s when he rocked more than crooned. This being 1969, it has more than a slight psychedelic tinge to it (almost like MAJESTIES-era Stones, only better) with the proverbial backwards guitars & false ending. But instead of coming off as dated, it's actually quite endearing & by far one of Elton's most overlooked songs. "Sails" & "Western Ford Gateway" continue the mostly-straightahead rock sound & are good examples of both Elton's way with crafting a melody & Bernie's still-developing lyrical talent.

But EMPTY SKY was probably intended as something more bold & risky, which explains why the album doesn't really fit well into the rock category or even pop. Are there blunders? Sure, but only 3 glaring ones: "Hymn 2000" doesn't work too well, with its futuristic theme coming off as STAR TREK-inspired sci-fi in the end. "Scaffold" & "Lady What's Tomorrow" also suffer from overambitious lyrics that have Bernie still discovering what his style is as a writer.

On the plus side, "Val-Hala" has the feel of a sea shanty with its infectious chorus that dares anyone not to sing along. "Skyline Pigeon" is deservedly the song on EMPTY SKY that has outlasted its otherwise inauspicious parent album, managing a delicate beauty with Elton trading in his piano for a baroque harpsichord (I haven't heard the piano-based outtake that found its way onto 1973's DON'T SHOOT ME I'M ONLY THE PIANO PLAYER as a bonus track, but the lowdown is that it is superior to its released version). The main reason for this song's belated acclaim is Elton having performed "Skyline Pigeon" at the funeral of Ryan White, and its modern-day hymnlike structure makes it perfect not just for the memory of White, but of any departed loved one.

The closing medley of "Gulliver/Hay Chewed/Reprise" ends the album in grand style with the first part being an ode to Bernie's childhood dog; the second part is a jazzy instrumental that shows Elton is one heck of a piano player, which is something that would get less attention over time, then recently see a resurgence; the last part recaps all the previous songs from the album & whether or not that was necessary is in the ear of the beholder. After all, this was the late 1960s, what artist wasn't experimenting like this back then?

The remastered version not only offers better sound & clearer production, but it contains bonus tracks that were among the very first songs Elton ever recorded & again, despite their rather lofty ambitions, it's still clear something special was afoot. "Lady Samantha" might be recognizable to some Elton fans, for it was first recorded by Three Dog Night at about the same time EMPTY SKY came out & while this catchy rocker wasn't a hit for them, it nevertheless helped get Elton's name out to the American public. "All Across The Havens" once again has Bernie trying hard to impress with his lyrics, while "It's Me That You Need" is a kind of straightforward love song which Elton & Bernie would almost neglect until around the 1990s when Adult Contemporary radio became their biggest target. "Just Like Strange Rain" also falls into the ballad category, but with lyrics that point towards the heights Bernie would scale in just a few short years.

The 1960s were ending at the time EMPTY SKY came out & the psychedelic sound the album used in abundance was also starting to lose its freshness. That might be a valid reason why EMPTY SKY didn't sell well originally (it wasn't even released in America until 1975, after Elton became a superstar). Yet it's always interesting to see where a legend first began his body of work & EMPTY SKY is certainly worth a listen to see where Elton John was headed, as well as hear some of the things he'd rarely ever do again (except for "Skyline Pigeon", the songs on this album have been forgotten for the most part). Who knew the two young men making this album would soon change pop music forever?

Empty Sky is the album that first introduced Elton John and his lyricist Bernie Taupin to the world (except for the US where the album wasn't released until 1975). When I first heard it, I was less than impressed, but on repeated listenings, I've learned to appreciate it more. It's crude, dark, with overly pretentious lyrics from the usually great Bernie Taupin, and Elton has told stories of how the piano he recorded with was out of tune. However, you've got to start somewhere. You can hear the promise of what was coming on Elton's very next effort, the self-titled ELTON JOHN. These songs began as poems that Bernie wrote before he ever met Elton. Their early efforts at writing pop songs produced some largely forgetable songs,and Steve Brown (I think) suggested they try using Bernie's poems. That's why these songs seem as disjointed as they do. "Skyline Pigeon" is my favorite track (although like so many have said, I prefer the piano version which was the B-side of "Daniel" and available on the
remastered DON'T SHOOT ME, I'M ONLY THE PIANO PLAYER). "Valhalla" and "Lady, What's Tomorrow" are also worthy
of note. The bonus tracks are a very welcome addition. The
orchestral arrangements of "It's Me That You Need" make up for
the sappy, simplistic lyrics. (Sorry, Bernie)
I'm a huge fan of the John/Taupin team, and I would say it's worth the price of admission to hear how these great songwriters got their start.

After a number of years with Bluesology and some moderately successful singles with lyricist Bernie Taupin, Dick James Music decided to give Elton the chance to record his own album.

Because it was 1969, this album is fraught with needless elements of psychadelia and overt experimentation. Moroever, even the remastered version of the album is incapable of covering up the poor production quality of this "master work".

"Empty Sky" plods along for well over 8 minutes until it ends with this silly fade-out and fade-in during which Elton provides some "grooooovy" overdubs. You really have to LOVE the harpsichord to like "Val Hala". Beyond that, the album reads as an instruction manual on how to play the recorder. "Skyline Pigeon" is the great song of this album, and even so, this version if far inferior to the versions on "Rare Masters" or "Here or There". Elton's voice is whiney and nasal; the harpsichord, omnipresent. I will give an honorable mention here to "Western Ford Gateway" which is a really good, catchy tune which struggles to get noticed amidst all the experimental debris surrouding it.

Just when you think Elton is going to put out a good song with the grave and serious "Gulliver", it suddenly jettisons into come fruity jazz number "It's Hay Chewed". Then, the "Reprise" is nothing more than a fragment of each song on the album meshed into a minute...blah! The bonus tracks like "Lady Samantha" and "It's Me That You Need" are mere footnotes in Elton's catalog and provide the listener with little consolation after having endured an otherwise dreadful album.

I would seriously skip this album.

Released in 1969 in the United Kingdom (its American release not until 1975), "Empty Sky" was Elton John's (and Bernie Taupin's) debut album. And what a debut. While nowhere near as good subsequnet albums like "Goodbye Yellow Brick Road" or "Captain Fantastic And The Brown Dirt Cowboy", it still is a must - have album.

Beginning with the 8 - minute title track, "Empty Sky" is possibly Elton's most uneven album. Despite that, it still shines thanks to great songs. Songs like "Val - Hala" and "The Scaffold" show that even in 1969, Elton and Bernie's songwriting capabilites were in full bloom. The song most people will want is the original version of the now classic "Skyline Pigeon". While this version is good, in 1973, Elton rerecorded it using a piano instead of a harpsichord, and it runed to be the definitive version. Also included are three bonus tracks. "Lady Samantha" is a great acid rocker, and is know well known thanks to Three Dog Night's cover version. 'All Across The Havens" sways effortlessly, while "It's Me That You Need" is a gorgeous ballad. "Just Like Strange Rain" is another rocker.

While not as good future albums, "Empty Sky" is a great record. I suggest the purchase of it today.

"I looked up/And saw the empty sky/If I could only/Could only fly..."

If Elton only knew what was to come.

The first Elton John, though only released in the U.S. in the mid-70s, after his run of big singles was beginning to dry up, has a feeling more of cleaning up after the elephants as much as it does of leading the parade. Elton's voice, in the notable title track, the best song on the original track lineup, sounds as world-weary as it would on "Blue Moves," recorded some seven years later. The lyrics of ES are less sharp than usual, though the subjects are less the broken relationships Bernie Taupin came to write about so obsessively later in his career, and more in line with pre-teen daydreaming about Norse gods and escape. Maturation was still to come, along with the pop chops and chart-topping savvy.

There's nothing great on this collection to recommend it to a non-completist, it's a little too proggy and twee. That said, a casual fan will find worthwhile things. The melodies are pretty if unmemorable, with songs like "The Scaffold" and "Western Ford Gateway" standouts on the hummability meter. How's this for an unusual complaint for a pop record: Too much harpsichord!

The song "Empty Sky" is the major revelation, because it really showcases a different Elton than we saw performing "Your Song" the following year. It's an interesting peek at the artist behind the showman, just following his muse and trying to figure out what works, and the crunchy guitar licks are pretty sensational, though the song never quite gels in the way of a "Philadelphia Freedom" or "Benny And The Jets."

The best song on the CD is not from the original album, but "Lady Samantha," which when released as a single some months before gave Elton his first (minor) radio success. That churns and burns in Elton's characteristically pleasing manner.

If you like Elton a lot, you will like "Empty Sky." If you listen to his Greatest Hits packages once in a while and want to dig deeper, you might start with something more like "Captain Fantastic" or "Tumbleweed Connection." This is a good recording, tarnished only by the fact its maker(s) would go on to do a lot better.