Elton John - Jamaica Jerk-Off (DJM Records '73) - Синглы / Single_s | Текст песни

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• Jamaica Jerk-Off (DJM Records '73) - Синглы / Single_s

Elton John was among the most bootlegged rockers of 1970s; although he wasn’t bootlegged as exhaustively as the Rolling Stones, there were dozens of John bootlegs for collectors to chase after. The sound quality of his 1970s bootlegs varied considerably, ranging from decent to excellent to terrible. Recorded at the Hollywood Bowl in September 1973 — the month before Goodbye Yellow Brick Road came out in the U.S.– All the Young Girls Love Alice offers sound that is OK but certainly not great.

The house lights dimmed and a lonely spot picked out a single figure onstage. “And now ladies and gentlemen, this evening’s hostess… the star of ‘Deep Throat,’ Miss Linda Lovelace!”

Looking more like the enriched mistress of a Las Vegas Kingpin than the renowned man-eater she is, Linda stepped from the shadows toward the microphone. The huge backdrop picturing Elton in top hat floated lazily down as the stage lights went up to reveal full-grown palm trees bordering a huge, glittering staircase and five pianos of varying colors.

“Hi,” Linda gurgled. “I’d like to introduce some of tonight’s guests, very important people and dignitaries from around the world who wouldn’t dare have missed this gala evening.” Over the staircase in rapid succession bounded the Queen of England, Elvis Presley, Frankenstein, the Pope, the Beatles, Batman and Robin, Groucho Marx and Mae West. Moving to the pianos, they raised the covers to display the giant inlaid letters: E-L-T-O-N, and in doing so, released a flock of doves to fly aimlessly about while Linda introduced the band and finally:

“Here he is, the _biggest_, _largest_, _most gigantic_, and _fantastic_ man, the co-star of my next movie… Elton John!”

We’ve learned to expect different and novel things from Elton John. He is a man, however, whose patently non-outrageous music often clashes with his glam stage show, something that has progressed from mere acrobatics to a full- blown production. But does Elton need all this? His music holds its own — something especially evident at his first Los Angeles dates at the Troubadour. At the Bowl, he neither avoided the histrionics nor carried them to expected heights. Those opening moments embodied most of the evening’s flash, and one could sense the audience waiting for something more to happen.
“Elderberry Wine” led into a pleasant version of “Your Song,” and a magnificent “High Flying Bird” followed by “Honky Cat.” Elton appeared almost solemn and somber, resolute upon hitting the high notes. It wasn’t until “Hercules” that he began to move, to kick the piano bench away, to leap into the air — and yet, it carried none of the impact of the old.

Elton’s raucous rockers worked better onstage than on record. He was able to get a fuller, less cluttered sound, and of course, he played off the audience’s reaction which was frenetic throughout. He was tasty in his selection of material which included “Madman Across the Water,” “Have Mercy on the Criminal,” “Teacher I Need You,” and three songs from his forthcoming album, and “Crocodile Rock,” for which a “crocodile” (songwriting partner Bernie Taupin) on organ accompanied Elton. The cast and company reappeared for “Saturday Night’s Alright for Fighting” and Elton’s “favorite rock & roll number,” “Honky Tonk Women.”

But in the end, there was only the mad proletariat rush for free Elton John T-shirts, and a few doves still circling the Bowl, looking for a home. – ROLLING STONE, 10/11/73.”

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