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 debut album from Elton John. It is a very solid effort, lacking in spots, but shows the immense potential that would be fully realized on future albums. The title track is a good rocker that opens up the album. "Val-hala" is the best song from the album with it's mystical Bernie Taupin lyrics and Mr. John's harpsichord gives it the baroque sound that would permeate his second album. "Sails" and "Skyline Pigeon" are good songs as well. The closing medley of "Gulliver/It's Hay Chewed/Reprise" is an interesting way to close the album. The middle section is an instrumental with touches of jazz and the reprise is made up of pieces of songs from the rest of the album. "Lady Samantha" and "Just Like Strange Rain" are the best of the bonus tracks on the album.

For someone familiar with "Greatest Hits" era Elton John, this debut album came as a refreshing and pleasant surprise. The album kicks off auspiciously with the titular "Empty Sky", which is one of Elton's most propelling rockers. The bare bones "rock and roll" feel of the song, though, belies the delightful inclusion of psychedelic flourishes like backward taped guitar solos, a fake fade-out, and "Mr Fantasy"-esque harmonica wailing. Indeed, there seem to be subtle shades of British acid-pop sprinkled throughout the album (leading one to appreciate how much cross-pollination must have occurred among musicians in England around 1969!) Elton's jazzy instrumental "It's Hay Chewed" covers similar territory as Traffic's "Giving to You", cheery harpsichord melodies like "Skyline Pigeon" invoke "Benefit of Mr Kite"-style Beatles, and the bonus track "Just Like Strange Rain", both beautiful and surreal, is worth the price of the album alone.

This album is simply awesome. It is uncut, un "prettied up," un "pop-produced," and simply raw. the opening track is awesome, with a solid, driving bass guitar/drum rythm and excellent lead guitar by Caleb Quaye. Elton's piano playing on that album is also very good, and the song is very creative, delving into a false ending then coming back with a cool (but somewhat cheesy) loud ending. Val-hala is also awesome, showcasing EJ's harpsichord playing which sounds a bit "playful," but with inspiring, mysterious lyrics. In fact, mysterious lyrics are what dominate much of the songs on this album, leaving the listener to use their imagination to figure out what the lyrics mean. Hymn 2000, with seemingly pointless lyrics, is an excellent interplay between the bass guitar, the flute, Caleb's acoustic guitar, a tambourine and Elton's Piano. Weird as the lyrics are (singing about a cat from next door being found in surgical dissection), the musical interplay provides a nice, humble, but still somewhat musically exotic listening experience. Sails is undoubtedly my favorite song, and quite possibly my favorite EJ song. It's just a straight rocker with excellent, driving keyboard playing from Elton and an awesome lead guitar work by Caleb. The bass is also excellent, providing an excellent "under" rythum off of which for everyone else to work. Skyline pidgeon is also good and is very bare and basic, having an almost warm, humble feeling. Lady, What's Tomorrow is also a good song, the lyrics seeming to delve into the future of a relationship. Lady Samantha is also an awesome, airy, but bare-bones rocker.

Overall, this is a great insight into Elton's roots. A definite must buy if you want to see where EJ originally came from, musically speaking.

I think it's the best album of the twentieth century... Well, it is for sure Elton's best.

At the time Elton wasn't that much famous. He wasn't the Big Pop Star he is right now. At the time, Elton had a magnificent musical universe, macabre and sentimantal at the same time. At the time, he was naive, musically and vocally - his vocals on this album are dreadful, but who cares? At the time, he didn't spend time and money in studios recording the same love song again and again, just like he did later on in the seventies.

The "universe" of this album is so precise... It's the kind of songs that, when you hear them, you see old images in "Blue & White"... I won't say a thing, I'll let you discover.

Buy this, and the (very) early Elton Albums ("Madman", "Tumbleweed"...). Remember, Elton was naive in 1969, but I think a brand new sound is better than the same Elton love song.

PS: On this edition, you can also hear some of Elton's very first records as bonus tracks - now that's quite impressing for a debut, Sir!