© 2004 Shannon
It has been exactly 30 years since I have seen the Elton John band with Nigel playing drums—October 4, 1974 to be exact, at the Los Angeles Forum. Now that Nigel was back in the fold, I figured it was time to relive the past and see where the past 30 years have taken us both, so in November, I purchased a single ticket to see Elton John on April 3, 2004.We decided to stay at Caesar’s Palace for the convenience of the show and the nice swimming pool. The hotel is a maze. It took me nearly a day to find the most direct approach from the hotel room to the Colosseum, where Elton was playing. The Elton John store is, however, located directly next to the front entrance to the hotel, and was packed, day and night. One hint for those who attend the concert: buy the programme at the store—it’s $4 cheaper.
Shortly after arriving, however, the fun began. I ran into Davey Johnstone and Bobby Birch, apparently on their way back from rehearsal, and briefly spoke with Davey, who wished me a good show.
After leaving my son and his friend in the good hands of my friend, I headed out for the 7:30 show. I was reminded that cameras were not allowed and security was tight. We passed through a metal detector and a guard haphazardly checked my purse. I did have my binoculars with me, which are allowed.
The Colosseum has a 4,500 seat capacity. It is minuscule by today’s concert standards, but larger than what is considered optimal seating capacity for a concert hall for the best acoustical quality. It is set out so every seat enjoys a good view, even from the upper tiers.
My ticket was for row GG in Orchestra 2, seat 207, at the right-hand side of the stage. Because the rows to the right and left of the stage are graded in sort of a "V" shape, there was only one row between me and the stage. While this may not be the best side of the stage to see Elton, it provides a dead-on, close-up and unobstructed view of Nigel and Davey. So close, in fact, that my binoculars were completely unnecessary. I was seated next to a woman with a rather large hat. Usually, I’m stuck behind either a giant or a person with a hat, so I felt fortunate that the hat was at least not going to block my view.
At first I was thinking how different the crowd is from what it used to be—so much older, more sedate. Then I realized that it was probably the very same crowd of people that I had sat next to 30 years ago, except, of course, they have aged much faster than me!
Shortly after 7:30 p.m., the lights dimmed, people settled in their seats, and background music played to stage hands dressed in white smocks walking on stage to take off the black sheet covering the red piano. The band appeared first, from stage right, and walked directly in front of me to their places, followed by Elton in a black tux to the roar of the crowd and a standing ovation.
After "Tiny Dancer", the band was introduced, and as I applauded furiously for Nigel, the woman with the hat confided to me that she was so happy he was back with the band! The first two rows were allowed up on stage to dance during Saturday Night’s All Right for Fighting. I was not quick enough on the draw to run up on stage to dance, and was sorry I missed the opportunity, because between the inflatable fruit on stage and the balloons, the band completely disappeared! I was also hard pressed to see Elton, since he was surrounded by the audience on stage. Instead, it gave me the opportunity to dance at my seat, since I figured I wasn’t blocking anyone’s view anyway!
Elton made only one mistake—when introducing the band—he referred to his first concert in L.A. as taking place in September, 1970, when I knew it was August 25th, because it was exactly one month after I turned 18. [Editor's note: Elton is doing the same on the current mini-tour!]
It was very strange seeing the huge LED backdrop screen with all of these concerts—in particular the one at Dodger Stadium in 1975, because I had been to all of them, including that one. In effect, it was seeing a flashback of my own life; and a very nostalgic experience to me. That was the highlight of my trip. Or so I thought...
The following night, after returning from a show and taking the kids upstairs, I headed back out to spend the $10 in quarters left over from my son playing at one of the arcades. I ran smack dab into Nigel and Schanda! They were on their way out after the last show of this series. I said hello, then mentioned Noreen, the NOFC, and asked if I could take a photo of Nigel. Schanda introduced herself, and literally gushed over what a wonderful person Noreen is, asking me to give her my best, and saying that she would email Noreen to let her know they had met me. Schanda then suggested that she take the photo so I could be in it with Nigel. After she took the photo, I suggested taking a photo of the two of them, and said I would send both photos to the NOFC. After the photos, we walked a short distance talking about the show before leaving to go our separate ways. We had a nice conversation, and I can’t emphasize what really nice people Nigel and Schanda are.
Leaving Las Vegas, I felt almost smug. I reflected on seeing the Elton John trio for the first time 34 years ago at the Troubadour Club in Los Angeles, to the Santa Monica Civic a few months later, followed by a little-known gig at Royce Hall at UCLA, then so many concerts thereafter, including all 7 nights at the Greek Theatre in 1971. It was like coming home.
The playlist:
Bennie and the Jets
Philadelphia Freedom
Believe
Daniel
Rocket Man
I Guess That's Why They Call It the Blues
Tiny Dancer (Band intro)
Don't Let the Sun Go Down on Me—I Want Love
Candle in the Wind
Pinball Wizard
The Bitch Is Back
I'm Still Standing
Saturday Night's Alright for Fighting
Your Song
[PS emailed to Noreen: "I forgot to mention what Nigel was wearing in concert: black jeans, orange silk button-down long-sleeved shirt with a background pattern of what appeared to be a picture of something in shades of grey. White gloves, of course. Oh—used the NEW "Bobby" birch drum kit—MINUS his logo on the bass drum.
He did NOT throw drum sticks out into the audience (damn!)."]
Las Vegas Colosseum Red Piano Oct 23 & 24, 2004
by Caryl Simpson
I had the opportunity to see the Red Piano show in Vegas this weekend and thought I would send you all a little review. Both shows were essentially the same other than slight variations in Elton's stories between numbers...hence I'm combining that part just a bit. I had front row of the 1st mezz the Saturday night and had a spectacular view of the entire stage. I took notes so that I could watch the show undisturbed from my 3rd row floor seat on Sunday night. I have never heard Elton talk so much between songs. The shows ran about 135 min. The Saturday night crowd was animated and you could tell that Elton just fed off of it. Sunday was more sedate. I suspect there were a number of people in the front audience there for the Best Buy DVD promotion. (It was held outside in a tent and was filthy with security...there was no way to get near the tent).I went to the show thinking I wouldn't really enjoy the glitz and naughty innuendo and the music used as a soundtrack to the giant video. I am so pleased to have been so wrong. This is a show for those of you who miss the frenetic, fun, unpredictable early days of Elton's shows...or those like me who were never privileged to see him in the early days. The difference is that this visual feast surrounds him and energizes him rather than totally eminating from him, and this embodies the historical totality of the art of his musicianship.
Set list with Elton's comments and a bit of video description (when I can remember):
1. Benny and the Jets- ELTON in different styles of neon flashing letters reflecting back into the screen as if looking at a mirror in a mirror. Elton welcomed the audience to "The Colosseum, home of Celine" and then in a very low slow spooky voice "and sometimes Meeeeeeee."
2. Philadelphia Freedom- Video of 1960s type go-go dancing girls with some full frontal nudity which for me seemed to speak to the loss of inhibitions when joyous music takes over the rational brain.
3. Believe- Elton spoke of not enough love in the world. Red stands for love and that is why the piano is red. There were large red inflated roses on the stage from floor to the heights. He proceeded to say that for the past month he has wrestled with papparazzi and run for President on lip synching but this show would have "no papparazzi, no politics and no lip synching....just a lot of FUN." The video was young man dancing in a large black and white striped hall of marble and columns and an elegant stairway.
4. Daniel- Elton explained that people ask him all the time about the meanings of the songs and because Bernie writes the lyrics he doesnt always know. And example would be 'Take Me To the Pilot' and in his words, "I cant help you there...I have NO CLUE"...which brought a laugh from the audience. Of course we all know about the missing last verse to 'Daniel' and he said that the video was an attempt to explain the meaning of the song. The video showed a young man lying on his back...eyes closed...his body taking up the entire bottom half of this mammoth screen. Above him were clips of young people enjoying their lives then switching into his induction into the military with the head shaving then fighting scenes. All the while the young man's body is changing....his hair has been shorn his body bruised...until he disappears leaving an empty gurney with a national military cemetery behind. Very powerful.
5. Rocket Man- This was the extended 13 minute version of Rocketman showing the "This Train" video in the center bordered on each side with the view of space as one were in a rocket seeing the stars fly by. The video included out takes which were not seen in the released version. He commented about sitting behind his "9' red piano..I mean monster." Elton then took a walk across the stage thanking the audience and when he returned to the piano he quipped that the stage was so large it was like "walking to Reno and back" and noted that was probably why Celine is so thin. He stated that he had planned to be as thin as Celine by the end of October but had not quite made it although he has lost 30 pounds. Therefore, he hoped to reach his goal by the February shows when he will be called "Sir Lean" and look like a "Q-tip with sparkly glasses."
6. I Guess That's Why They Call It the Blues- I love this song and I cant for the life of me remember the video.
7.Answer in the Sky- This replaced 'I Want Love' and was a very welcome addition/subtraction. The song live is a bit more uptempo than the recording. The video featured a monochrome 1940s style black jazz type bar with men and women jitterbugging. Then they were all in a church with a gorgeous minister leading the joyous gospel singing. The minister and a woman head outside to the church cemetery where they embrace and "God" (who who was dressed in blue and looked a bit like Al Sharpton) struck them dead with bolts of lightning {Editor: Oh dear! LOL]. Rising into heaven, the angels were dressed in pink, and all were celebrating and singing.
8. Medley of Temptation- Now this was fun. Elton started playing 'GBYBR' and the crowd went nuts. He stopped, grinned, and said "No..not this one". He proceeded into 'Levon'...same thing...'Someone Saved'...nope...then 'Croc Rock'..."not playing this, but I will play...."
9. Tiny Dancer- A large neon heart with LOVE down the side hung over the piano.
10. Band Introductions: Elton's face was projected onto the huge screen. At the Sunday show he looked up and said "Oh my God..I just saw the size of my head! I might sneak back in and see the other parts of me!" He introduced the American contingent of the band, John, Bob and Guy then proceeded to say his original band included the "late great Dee Murray" and Nigel whom he is so happy to have back with him. He then explained that he needed to add a guitar player and asked Gus Dudgeon if he knew of anyone. Gus replied he knew a great folk guitarist(!) who also played mandolin and banjo. Elton said of the 6 million guitarists out there and I get an "old folker." He then stood up and did a little jig saying that after they hospitalized Davey for detox for 6 months they then had to surgically remove his kilt and clogs. They "plugged him in and he never turned back."
11. Dont Let the Sun Go Down on Me- Male and female dancers expressing a love/abuse relationship. They are dancing in the room of a house. The TV in the corner shows Elton singing. After they leave the room disintegrates into a hovel with paint peeling from the walls.
12. Candle in the Wind- (solo) He told the story about wanting to release this as the 3rd single against the wishes of his music company. 'Bennie' was released and reached #1 in the Detroit charts. 'CITW' then took on another life in Live from Australia then in the remake for Diana (although he never mentioned Diana's name..only "the tragedy we are all familiar with"). The video was of Marilyn Monroe.
Intermission- Clothes and Stage Setup
13. Pinball Wizard- A HUGE silver ball on a bungee cord dropped in front of the stage...and was gone. Very slowly, pink and white balloons with Elton's picture dropped from the ceiling. They were bounced all over by the audience, onto the stage, kicked back by Elton and John and Davey. Vegas-style neon advertising lights proclaiming cocktails and botox and bail bonds flashed on and off.
14. The Bitch is Back- Pamela Anderson and the pole dance on the video. The stage featured a huge blow up "doll" of ladies' legs in front of the video screen and of course the already-discussed large breasts hanging from the ceiling which sprayed out white streamers. The video featured very fast paced scenes of the Vegas experience.
15. I'm Still Standing- The video was a montage of Elton through the years. The stage was set with the bananas, cherries and apples which gave a very comical effect.
16. Saturday Night's All Right for Fighting- Elton stood at the edge of the stage and motioned people to come. I think most had no idea what he meant other than maybe for them to keep up the momentum. I have no clue about the video as I was paying attention to the audience dancing on stage the first night...and ME on the stage right behind the piano during the 2nd performance. Elton interacted and smiled and played to us and thanked us. I'm thinking Thank YOU. What a trip that was!
Clothes Change
17. Your Song (solo). Dedicated to the audience.
BACK
NEXT
HOME (IE) | HOME (NS)
